Birthdays:
Chris Montez (1943)
William Hart - Delfonics (1945)
Mick Taylor - John Mayalls Bluesbreakers, Rolling Stones from '69 to'74 (1948)
Sheila Hutchinson - Emotions (1953)
Cheryl Bentyne - Manhattan Transfer (1954)
Steve Earle (1955)
Paul Young (1956)
Susanna Hoffs - Bangles (1957)
John Crawford - Berlin (1960)
Andy Rourke - Smiths (1963)
Kid Rock (1971)
Jon Wysocki - Staind (1971)
Ricky Wilson - Kaiser Chiefs (1978)
They Are Missed:
In 1970, Chicago R&B singer Billy Stewart and three of his band members were killed when their car goes out of control and off a bridge over the River Neuse in North Carolina. Stewart is best know for his 1966 hit "Summertime." He was 32 years old.
In 1982, Tommy Tucker, author of "Hi Heel Sneakers" and a bunch of other R&B hits, died of carbon tetrachloride poisoning sustained while he was finishing floors in his home. He was 48 years old.
History:
In 1963, the Beatles played at the Cavern Club at lunchtime and in the evening played at the Majestic Ballroom, Birkenhead. At the Majestic, every ticket had been sold in advance, leaving more than 500 disappointed fans waiting outside.
The Rolling Stones released their first EP in 1964, which included, "You Better Move On," "Poison Ivy," "Bye Bye Johnny" and "Money."
Rolling Stones drummer Charlie Watts' book, Ode to a High Flying Bird, a tribute to jazz great Charlie Parker, was published in 1965. Also, the same day the Stones recorded "The Last Time" and "Play with Fire."
In 1967, The Daily Mail ran the story about a local council survey finding 4,000 holes in the road in Lancashire inspiring John Lennon's contribution to The Beatles song "A Day In The Life."
Also in 1967 - Lesly Gore appeared on ABC-TV's "Batman" as Catwoman's sidekick, Pussycat.
Genesis was formed in 1967 by Charterhouse School mates Peter Gabriel, Mike Rutherford and Tony Banks.
Led Zeppelin's debut album was released in 1969.
"Lady Samantha" was released in England in 1969. It was one of the very first recordings by Reginald Kenneth Dwight, better known as Elton John.
A display of John Lennon's erotic "Bag One" lithographs opened in London in 1970. Scotland Yard seizes prints 2 days later as evidence of pornography.
The Doors' two-night stand at the Felt Forum in New York in 1970 was recorded for their forthcoming album, "Absolutely Live." Several other shows around the country will also be recorded for the album.
At the Charles Manson murder trial in 1971, the Beatles' "Helter Skelter" was played. At the scene of one of his gruesome murders, the words "helter skelter" were written on a mirror.
Highway 51 South in Memphis was renamed Elvis Presley Blvd in 1972.
Dino Martin, singer and son of Dean Martin, was arrested in 1974 on suspicion of possession and sale of two machine guns. He was arraigned and released the next day on $5,000 bail.
Bob Dylan’s 'Planet Waves,' which reunited him with The Band as his backing group, was released in 1974.
Television and Blondie appeared at GBGB's, New York City in 1975.
Barry Manilow scored his second #1 single in 1976 with "I Write The Songs," which was written by Beach Boy Bruce Johnson.
Earth Wind and Fire started a three-week run at #1 on the US album chart in 1976 with 'Gratitude'.
The Blues Brothers make their first appearance on NBC-TV's "Saturday Night Live" in 1976.
In 1976, the Beatles turned down an offer of $30 million to play together again on the same stage. The offer was made by rock promoter Bill Sargent.
In 1977, the Marshall Tucker and Charlie Daniels bands headlined a benefit concert for Scooter Herring, an ex-roadie for the Allman Brothers Band. Herring was facing a cocaine trafficking conviction based, in part, on testimony from Greg Allman. It was Allman's move to give evidence that caused the breakup of the Allman Brothers. Herring, meanwhile, was sentenced to 75 years in prison.
Blondie reached #1 in 1981 with "Rapture."
Chuck Berry sued High Society magazine for $10-million in 1989 after it published nude photographs of him. Berry said the photos were stolen from his office in St. Louis. He told reporters he had taken photos of himself and his female companions over the past 30 years in case the women tried to defame him. Um, Ok Chuck.....
In 1990, Hank Ballard, The Four Seasons, The Four Tops, The Kinks, Simon and Garfunkel, the Platters and The Who are inducted into the Rock & Roll Hall of Fame during ceremonies at New York's Waldorf Astoria.
Hundreds of thousands of people gathered in Washington in 1993 for a free outdoor concert that was part of the presidential inauguration ceremonies. Among those performing are Aretha Franklin and Michael Bolton.
In 1994, Donny Osmond took part in a charity boxing match held in Chicago against former Partridge Family member Danny Bonaduce, Donny lost 2-1.
In 1996, David Bowie, Tom Donahue, The Jefferson Airplane, Gladys Knight and the Pips, Little Willie John, Pink Floyd, Pete Seeger, The Shirelles and the Velvet Underground are inducted into the Rock & Roll Hall of Fame.
Savage Garden started a two week run at #1 on the US singles chart in 1998 with "Truly Madly Deeply."
In 2003, a long-lost recording featuring John Lennon and Mick Jagger was set to spark a biding war at a London auction. The acetate record was recorded in 1974 with Jagger singing the blues song 'Too Many Cooks' and Lennon playing guitar. The track had never been release because the two artists were both signed to different record companies.
Gene Simmons of Kiss was fired by Donald Trump from NBC-TV's "Celebrity Apprentice" in 2008.
Custom model Gibson guitars were introduced at the NAMM music-equipment trade show in Anaheim, CA in 2008. A series of instruments are designed to look like guitars played by Led Zeppelin's Jimmy Page, Velvet Revolver's Slash, Rush's Alex Lifeson and the Sex Pistols' Steve Jones.
Sunday, January 17, 2010
Saturday, January 16, 2010
Audiophile Audition Review
I want to thank John over at http://www.audaud.com/index.phpfor the exclusive rights to reprint this great review!
VPI 30th Anniversary Classic Turntable
with JMW-10.5i Special Edition Tonearm
I still think that perhaps performance could have been improved with an even more expensive cartridge; however its characteristic lack of drive seemed to carry over regardless of cartridge and/or equipment changes.
Published on January 03, 2010
VPI 30th Anniversary Classic Turntable
with JMW-10.5i Special Edition Tonearm
SRP: $2500
VPI Industries, Inc.
77 Cliffwood Ave. #3B
Cliffwood, New Jersey 07721-1087
732-583-6895 (voice)
732-946-8578 (fax)
www.vpiindustries.com/table_classic.htm
--------------------------------------------------------------------------------
Basic Description
Table. The turntable is adorned with a wood plinth that comes in black oak or walnut veneer. The isolator feet are large, black and plastic with a rubber grommet/washer separating them from the base, and twist for leveling purposes. The platter is cast aluminum, very heavy and is 1.875 inches high. It is designed to work with a standard plastic clamp that twists on the spindle (included) as well as an upgraded center weight ($150). The outer edge of the platter is machined to accommodate the VPI periphery ring clamp at $600. [An alternative to vacuum tables that several makers now offer...Ed.] Other options include a dustcover ($300) and a speed controller, the SDS, at $1200.
According to the manual, the motor pulley is aligned to within +/- .0005” when tested at the factory. It has three rungs for each 33 1/3 and 45 rpm allowing for slight differences in tolerance with the belt and is solid mounted AC synchronous. The bearing is inverted. As you can see from the image, there is also a rubber separator between the motor portion and the rest of the table. The top is a black powder-coated metal that looks to be about .125” in thickness. This sits atop the solid wood that can be viewed from underneath the table. There is an IEC outlet jack on the back so the power cord can be easily changed.
All tables are run-in for at least four hours before shipping according to the manual and the specifications of the table are: wow and flutter less than .02%, rumble less than 80 dB, weight 48 pounds, 20.75” W x 15.75” D x 10” H; three year warranty.
Arm. This arm does not have a dial on the top to adjust VTA “on the fly” (which the standard version has). Also, its base has been simplified to reduce cost, yet maintain as much of the performance of the more expensive arm. The wiring is by VPI. The arm is a uni-pivot design with a separate RCA block for use with any interconnects and allows for any possible adjustment including azimuth, VTA, and anti-skate. Fluid damping is available for cartridges that require it. This arm is 10.5” versus the 9” arm length that is common. Assuming I used the tracking error calculator spreadsheet that is available here http://www.enjoythemusic.com/freestuff.htm correctly, the difference yields about a 25% improvement in average distortion (due to error) and more than 40% improvement in maximum distortion (due to error). This translates to approximately .32% average and .37% maximum error.
Associated Equipment
Bowers and Wilkins 703 loudspeakers, NAD C355BEE, Sonneteer Sedley Phonograph Preamplifier, Clearaudio Virtuoso Cartridge ($875), Grado Reference Platinum Cartridge (~$300), Marantz TT-15S1 Turntable (for comparison), Audioquest cables.
Setup/Impressions
The first request I made to review this table was in September of 2008. It is fitting that after a year or so later I finally had the table in hand! The unit is massive compared to the other turntables I've reviewed near and above this price point. The unit was mostly assembled when I pulled it out of the box, so there was a lot less to do than with other tables under review.
The Look. First I should comment on its appearance before I get into the process of setup. I opted to receive the Classic in the walnut finish (as I have a thing for wood tables). The base has the edges on the corner cut and probably for good reason considering the weight of this table and avoiding sharp edges. However, this makes the veneer on the edges (which doesn't match the sides exactly) look more like a laminate. Of the people who came through and saw it during the review I only had two diehard audiophiles lust after it—one for the look and one for the size. A friend said that he would never get this finish (but perhaps the black would be okay) and another commented that it made the table look cheap. A casual observer asked, “What's that big ugly table?” I don't want to harp too much on this as I can visualize this table in a rack looking quite attractive. The truth is that you run into the same problem matching woods of any type. If you opt for walnut, just make sure it will go with the rest of your stuff. On to the setup...
The Manual. The manual, much like the people whom I've spoken to at VPI, lectures more than it instructs—a trait I'm familiar with from people who know what they are doing and have known for quite a while. At a few points I found myself chuckling after reading some of the comments: “...the turntable is very heavy...if you need help, get it” and “requires a good solid shelf on a rack that doesn't sway in the breeze.” The good thing is it is straightforward and written in clear English. [Unlike so many AV manuals!...Ed.]
Leveling. VPI includes the Shure pressure gauge, an alignment jig and parts and tools necessary for adjustment of the arm and mounting the cartridge. After removing the table from the box I set it on a flat surface and removed the foam from under the platter. I looped the belt around the platter, plugged in the power cord and began the process of leveling. Because of the turntable's weight, it is necessary to pick it up slightly while turning the feet. I found that leveling the edges was slightly different from leveling the platter itself, so I made my adjustments from there. (It's always a good idea to level from the surface of the platter.)
Hookup and Alignment. VPI offers the arm with four different mounted cartridges (one from Dynavector and three options from Grado) ranging from $500 to $2500. If you go for this option then all you need to do is attach audio cabling and put the arm down onto the table. If not then there are detailed instructions on how to mount the cartridge, attach the leads and use the jig for alignment. There is a separate output cable box that includes a ground. With one phono preamp I tried there was no need to ground (as there was no hum) in the system, but with the Sedley I had to attach a ground. The arm looks well-made and mounting the cartridge was a piece of cake. The jig required a length adjustment and then aligning was also simply accomplished.
Anti-skate. Although a mechanical anti-skate (via string) is included, VPI recommends against using it—claiming that the twist in the tonearm wire (that attaches to the output box) is enough spring force to counteract the force towards the center of the record. The process to adjust the skate is fairly simple. Set the weight so the arm floats and swing the arm towards the center and release. Unplug the tonearm wire and add twist as necessary so that the arm swings back towards the edge. This is how I used the table.
Speed Accuracy. I used a strobe disc to check the speed. There are three different ridges on the pulley to adjust the speed. I started in the center ridge. Spin up is super fast—less than 3 seconds. The top rung was slow and the lower rung was fast. Speed accuracy was within specs at .1% from the center rung on the pulley.
Arm Height Adjustment. Adjusting arm height is accomplished with two setscrews on the base of the arm. There is a dial that will easily allow for raising and lowering the height later for VTA adjustment. Although it is not the dial that is found on other arms, it is almost as easy.
Tracking Force Adjustment. With the arm set to be parallel to the record surface, I adjusted force with the included Shure gauge. VPI recommends (as do many other manufacturers) going towards the higher end of the range of tracking force. There is less damage to the record caused from slightly higher tracking than mis-tracking due to not enough force (especially with a uni-pivot arm on warped records). By the way, that is a good reason to get the optional VPI periphery ring clamp—it will help straighten those warped records and yield better sound (although not tested or verified). On the arm, the weight slides easily back and forth and is tightened up with a setscrew.
Azimuth. Included with the table is a six-inch aluminum rod that sits on the top of the headshell. This aids in seeing if the headshell is level with the playing surface (as opposed to using a mirror). A small ruler can help if you don't trust your eyesight. There are two ways to adjust the azimuth: The first is as simple as twisting the counterweight to the left or right while keeping its front to back position fixed (to keep tracking force unaffected). The other involves turning a ring on the tonearm under the arm portion. This requires loosening two set screws, however you don't have to worry about upsetting the counterweight.
Record Mat and Clamp. The VPI comes with a cushioned rubber mat and a small rubber washer and a basic clamp. If you intend to use the mat, I would leave off the clamp. I liked the idea of placing the record directly on the metal platter (with the washer) and using the clamp. The clamp twists easily onto the spindle and takes but a few seconds to get it on. I listened to records both ways.
Vertical Tracking Angle. The VPI simplifies the VTA adjustment better than other turntables that I've used. There is a small wheel on the base of the arm similar to a ship's wheel that makes raising and lowering the arm a piece of cake. I was able to have two fellow enthusiasts listen while I turned the wheel up a quarter turn as needed. I started low with the sound being a bit muffled and bass heavy. I then raised it to a point that there was improved high frequency, but not much difference. I slowly turned back until the sound started to change again and pushed it up again.
Listening Part I (Clearaudio Virtuoso Cartridge)
The top metal plinth of the Classic excites a resonance inside the tonearm that is very audible. Without a record playing, but with the needle resting on the surface, tapping anywhere along the top caused a “dummm... dummm” sound to be emitting from the speakers (similar to the sound of hitting a huge bell). It could be heard over the music as well. The motor section (which is separate from the main plinth) emitted the sound just as plainly. It is hard not to believe that even without touching the plinth some of the resonance would be present with the music although I never identified it as such.
I spent some time listening to this same system (speakers, electronics, etc.) with the Kuzma table/arm/cartridge combo that was previously reviewed, so I felt that it would be sufficient to show off the sound of the Classic table. As is my practice with most equipment I try different systems (if I can) to get the best performance (as in most audio systems matching can be more important than the price or absolute quality of some products). I selected a few records at random to start the listening.
I began with “Down Under” from Men at Work's Business As Usual. Right away I was struck with the amount of detail that was being revealed. I can understand why VPI packages their tables with Grado cartridges as these tend to sound a bit warmer and rounder in my experience. With the Virtuoso I felt there was too much top end and made a note to get a hold of a Grado cartridge to try after I settled in to my formal listening. The same combination with the other table (using the Virtuoso) wasn't nearly as spitty and sharp.
Using a uni-pivot is always an adjustment period for me, and for those who have never experienced it, you should make sure it isn't something that will be a negative in practice. I found that it was easiest to use the cueing lever, move the arm over, let it wobble a bit, and then lower it onto the record. By the time it hit the record it was not twisting. If you like to cue manually, then a firm grip is recommended and a slight twisting will occur as the arm is lowered to the record.
The next track I listened to was “Real Wild Child” from Iggy Pop's Blah-Blah-Blah. The sound from this record was neither recessed nor forward—just sort of there. Soundstage and imaging appeared accurate. Unfortunately, the sound wasn't really grooving/involving as I'd like. It didn't rock and it didn't make me want to continue listening either. On initial listening tests with another equipment combination (Jolida phonograph preamplifier and Krell Integrated Amp) the sound seemed disembodied and sluggish, but I had assumed that the table might be in need of the better phonograph preamplifier. It wasn't quite a lack of coherence, but it came across as blandness. Some of this quality was carried over to this second system, so I'm not sure what else besides the table was the cause. A fellow audiophile vinyl fanatic commented that he'd heard something similar from other high-mass tables.
At this point I felt I should change the cartridge as this was the only other variable that I could alter in an effort to make the Classic sound better. I had a Grado Reference Platinum that I thought might be a good starting point. It has the characteristics of the better wood-body cartridges, but at a lower price point. This table clearly deserves a better cartridge and if this sounded better in some ways, then that would be the solution. Had I known at the time that VPI was packaging the Classic with particular cartridges I would have asked to be sent one of those as well.
Listening Part II (Grado Reference Platinum Cartridge)
Compared to other tables changing the cartridge was relatively easy. The wood body cartridge was at home on the Classic in terms of its look. I was expecting to give up a little fidelity due to the price differential but the sound was less offensive. However, the slowness and lack of liveliness still made involvement difficult. I rechecked the speed with the strobe so I knew the table was not running slow, yet there was something missing.
I remounted the Virtuoso on the Marantz and set the tables up side by side for a comparison. In honor of the recently-deceased Michael Jackson, I put on one of the best pop albums of the 80s, Thriller. I used “Billie Jean” and went back and forth more than a few times. The amount of high frequency on the VPI was over the top—it almost sounded like white noise. Had I not checked the VTA with another disc, I would have thought there to be something amiss (or set wrong with the phonograph preamplifier). Bass was good and voice was locked in place, but there was a lot of sibilance. Surprisingly, the bass on the Marantz seemed better. The excessive high frequency sound was gone although there was still sibilance. Interestingly, what I was expecting (which was the Marantz to be the brighter sounding combination) did not occur, and although it wasn't as bright sounding as the VPI, there was still a good sense of space
Next up was “Toccata” from an old audiophile favorite, Fresh Aire III by Mannheim Steamroller. On the Marantz the high frequencies have nice delicacy, bass was not super-powerful but was tight. Involvement was good, but not special. On this track the VPI was mellow and had good tone. On this type of music the VPI was much better and was a more enjoyable listen than with the Marantz.
From Heart's Dreamboat Annie I played “Soul of the Sea.” The VPI had a bit of harshness on the vocals, guitar had extra clang to it and bass seemed a bit overblown. Balance was a bit of an issue. The Marantz offered richer mid-range, vocals sounded better, there was more top end (of the good kind) although there was a slight edge, and it was less than with the VPI.
With “Holding Back the Years” from Simply Red's Picture Book the Marantz sounded excellent. With the VPI there was a slight loss of resolution, but the mellowness that it offered might be what many people are looking for when listening to LPs.
For the last of my 80s kick I listened to “True Colors” from the album by Cyndi Lauper of the same name. The VPI presented the music pleasantly, with low listener fatigue. Like the last recording, the differences with the Marantz were in detail and portrayal of the top end—either you think this is an advantage or disadvantage depending on your listening taste.
Overall, I was a bit perplexed by the differences heard with the VPI table. I'm used to hearing strange frequency response anomalies with inexpensive speakers but not so with better quality audio components. Some recordings sounded highly listenable while others were not. Some of this was due to the recording, but that same record did not have issues with the other table/cartridge combination. The Virtuoso was not a great match with the VPI and the Grado seemed much better. A higher-end model might be a good compromise between a warmer sound and more detail and possibly, improve the involvement issues mentioned above. Still, some of the sonics seem to be attributed to the table, so careful matching should be observed and definitely a listen before purchase is recommended (as with any piece of audio gear).
Conclusion
VPI has thrown some of their previous design choices to the wind in creating the VPI Wood Classic. I haven't heard other VPI tables, so I can't comment on whether their implementation is better or worse in other models. They've gone from Acrylic platters to the cast aluminum (reminiscent of older designs from Thorens, etc), plinth design has changed and the motor is not separate from the table, but integrated into the plinth. I'll let the reader draw their own conclusions about these design choices.
In terms of sound I was not enamored with this table and its sheer size may prevent it from being an option for some prospective purchasers. I still think that perhaps performance could have been improved with an even more expensive cartridge; however its characteristic lack of drive seemed to carry over regardless of cartridge and/or equipment changes. Other reviews (although they are few and far between) have been positive about the sound of this table, so I am left a little curious. As always, ignore the hype, listen with your ears, and make an informed decision. If you've already invested in this table and are enjoying it, then happy spinning!
-- Brian Bloom big_brian_b@hotmail.com
AUDIOPHILE AUDITION focuses on recordings of interest to audiophiles and collectors, with an accent on surround sound for music, and on all hi-res disc formats. Over 100SACD, DVD Video/Audio and standard CD reviews are published during each month, and our archives go back to January 2001.
VPI 30th Anniversary Classic Turntable
with JMW-10.5i Special Edition Tonearm
I still think that perhaps performance could have been improved with an even more expensive cartridge; however its characteristic lack of drive seemed to carry over regardless of cartridge and/or equipment changes.
Published on January 03, 2010
with JMW-10.5i Special Edition Tonearm
SRP: $2500
VPI Industries, Inc.
77 Cliffwood Ave. #3B
Cliffwood, New Jersey 07721-1087
732-583-6895 (voice)
732-946-8578 (fax)
www.vpiindustries.com/table_classic.htm
--------------------------------------------------------------------------------
Basic Description
Table. The turntable is adorned with a wood plinth that comes in black oak or walnut veneer. The isolator feet are large, black and plastic with a rubber grommet/washer separating them from the base, and twist for leveling purposes. The platter is cast aluminum, very heavy and is 1.875 inches high. It is designed to work with a standard plastic clamp that twists on the spindle (included) as well as an upgraded center weight ($150). The outer edge of the platter is machined to accommodate the VPI periphery ring clamp at $600. [An alternative to vacuum tables that several makers now offer...Ed.] Other options include a dustcover ($300) and a speed controller, the SDS, at $1200.
According to the manual, the motor pulley is aligned to within +/- .0005” when tested at the factory. It has three rungs for each 33 1/3 and 45 rpm allowing for slight differences in tolerance with the belt and is solid mounted AC synchronous. The bearing is inverted. As you can see from the image, there is also a rubber separator between the motor portion and the rest of the table. The top is a black powder-coated metal that looks to be about .125” in thickness. This sits atop the solid wood that can be viewed from underneath the table. There is an IEC outlet jack on the back so the power cord can be easily changed.
All tables are run-in for at least four hours before shipping according to the manual and the specifications of the table are: wow and flutter less than .02%, rumble less than 80 dB, weight 48 pounds, 20.75” W x 15.75” D x 10” H; three year warranty.
Arm. This arm does not have a dial on the top to adjust VTA “on the fly” (which the standard version has). Also, its base has been simplified to reduce cost, yet maintain as much of the performance of the more expensive arm. The wiring is by VPI. The arm is a uni-pivot design with a separate RCA block for use with any interconnects and allows for any possible adjustment including azimuth, VTA, and anti-skate. Fluid damping is available for cartridges that require it. This arm is 10.5” versus the 9” arm length that is common. Assuming I used the tracking error calculator spreadsheet that is available here http://www.enjoythemusic.com/freestuff.htm correctly, the difference yields about a 25% improvement in average distortion (due to error) and more than 40% improvement in maximum distortion (due to error). This translates to approximately .32% average and .37% maximum error.
Associated Equipment
Bowers and Wilkins 703 loudspeakers, NAD C355BEE, Sonneteer Sedley Phonograph Preamplifier, Clearaudio Virtuoso Cartridge ($875), Grado Reference Platinum Cartridge (~$300), Marantz TT-15S1 Turntable (for comparison), Audioquest cables.
Setup/Impressions
The first request I made to review this table was in September of 2008. It is fitting that after a year or so later I finally had the table in hand! The unit is massive compared to the other turntables I've reviewed near and above this price point. The unit was mostly assembled when I pulled it out of the box, so there was a lot less to do than with other tables under review.
The Look. First I should comment on its appearance before I get into the process of setup. I opted to receive the Classic in the walnut finish (as I have a thing for wood tables). The base has the edges on the corner cut and probably for good reason considering the weight of this table and avoiding sharp edges. However, this makes the veneer on the edges (which doesn't match the sides exactly) look more like a laminate. Of the people who came through and saw it during the review I only had two diehard audiophiles lust after it—one for the look and one for the size. A friend said that he would never get this finish (but perhaps the black would be okay) and another commented that it made the table look cheap. A casual observer asked, “What's that big ugly table?” I don't want to harp too much on this as I can visualize this table in a rack looking quite attractive. The truth is that you run into the same problem matching woods of any type. If you opt for walnut, just make sure it will go with the rest of your stuff. On to the setup...
The Manual. The manual, much like the people whom I've spoken to at VPI, lectures more than it instructs—a trait I'm familiar with from people who know what they are doing and have known for quite a while. At a few points I found myself chuckling after reading some of the comments: “...the turntable is very heavy...if you need help, get it” and “requires a good solid shelf on a rack that doesn't sway in the breeze.” The good thing is it is straightforward and written in clear English. [Unlike so many AV manuals!...Ed.]
Leveling. VPI includes the Shure pressure gauge, an alignment jig and parts and tools necessary for adjustment of the arm and mounting the cartridge. After removing the table from the box I set it on a flat surface and removed the foam from under the platter. I looped the belt around the platter, plugged in the power cord and began the process of leveling. Because of the turntable's weight, it is necessary to pick it up slightly while turning the feet. I found that leveling the edges was slightly different from leveling the platter itself, so I made my adjustments from there. (It's always a good idea to level from the surface of the platter.)
Hookup and Alignment. VPI offers the arm with four different mounted cartridges (one from Dynavector and three options from Grado) ranging from $500 to $2500. If you go for this option then all you need to do is attach audio cabling and put the arm down onto the table. If not then there are detailed instructions on how to mount the cartridge, attach the leads and use the jig for alignment. There is a separate output cable box that includes a ground. With one phono preamp I tried there was no need to ground (as there was no hum) in the system, but with the Sedley I had to attach a ground. The arm looks well-made and mounting the cartridge was a piece of cake. The jig required a length adjustment and then aligning was also simply accomplished.
Anti-skate. Although a mechanical anti-skate (via string) is included, VPI recommends against using it—claiming that the twist in the tonearm wire (that attaches to the output box) is enough spring force to counteract the force towards the center of the record. The process to adjust the skate is fairly simple. Set the weight so the arm floats and swing the arm towards the center and release. Unplug the tonearm wire and add twist as necessary so that the arm swings back towards the edge. This is how I used the table.
Speed Accuracy. I used a strobe disc to check the speed. There are three different ridges on the pulley to adjust the speed. I started in the center ridge. Spin up is super fast—less than 3 seconds. The top rung was slow and the lower rung was fast. Speed accuracy was within specs at .1% from the center rung on the pulley.
Arm Height Adjustment. Adjusting arm height is accomplished with two setscrews on the base of the arm. There is a dial that will easily allow for raising and lowering the height later for VTA adjustment. Although it is not the dial that is found on other arms, it is almost as easy.
Tracking Force Adjustment. With the arm set to be parallel to the record surface, I adjusted force with the included Shure gauge. VPI recommends (as do many other manufacturers) going towards the higher end of the range of tracking force. There is less damage to the record caused from slightly higher tracking than mis-tracking due to not enough force (especially with a uni-pivot arm on warped records). By the way, that is a good reason to get the optional VPI periphery ring clamp—it will help straighten those warped records and yield better sound (although not tested or verified). On the arm, the weight slides easily back and forth and is tightened up with a setscrew.
Azimuth. Included with the table is a six-inch aluminum rod that sits on the top of the headshell. This aids in seeing if the headshell is level with the playing surface (as opposed to using a mirror). A small ruler can help if you don't trust your eyesight. There are two ways to adjust the azimuth: The first is as simple as twisting the counterweight to the left or right while keeping its front to back position fixed (to keep tracking force unaffected). The other involves turning a ring on the tonearm under the arm portion. This requires loosening two set screws, however you don't have to worry about upsetting the counterweight.
Record Mat and Clamp. The VPI comes with a cushioned rubber mat and a small rubber washer and a basic clamp. If you intend to use the mat, I would leave off the clamp. I liked the idea of placing the record directly on the metal platter (with the washer) and using the clamp. The clamp twists easily onto the spindle and takes but a few seconds to get it on. I listened to records both ways.
Vertical Tracking Angle. The VPI simplifies the VTA adjustment better than other turntables that I've used. There is a small wheel on the base of the arm similar to a ship's wheel that makes raising and lowering the arm a piece of cake. I was able to have two fellow enthusiasts listen while I turned the wheel up a quarter turn as needed. I started low with the sound being a bit muffled and bass heavy. I then raised it to a point that there was improved high frequency, but not much difference. I slowly turned back until the sound started to change again and pushed it up again.
Listening Part I (Clearaudio Virtuoso Cartridge)
The top metal plinth of the Classic excites a resonance inside the tonearm that is very audible. Without a record playing, but with the needle resting on the surface, tapping anywhere along the top caused a “dummm... dummm” sound to be emitting from the speakers (similar to the sound of hitting a huge bell). It could be heard over the music as well. The motor section (which is separate from the main plinth) emitted the sound just as plainly. It is hard not to believe that even without touching the plinth some of the resonance would be present with the music although I never identified it as such.
I spent some time listening to this same system (speakers, electronics, etc.) with the Kuzma table/arm/cartridge combo that was previously reviewed, so I felt that it would be sufficient to show off the sound of the Classic table. As is my practice with most equipment I try different systems (if I can) to get the best performance (as in most audio systems matching can be more important than the price or absolute quality of some products). I selected a few records at random to start the listening.
I began with “Down Under” from Men at Work's Business As Usual. Right away I was struck with the amount of detail that was being revealed. I can understand why VPI packages their tables with Grado cartridges as these tend to sound a bit warmer and rounder in my experience. With the Virtuoso I felt there was too much top end and made a note to get a hold of a Grado cartridge to try after I settled in to my formal listening. The same combination with the other table (using the Virtuoso) wasn't nearly as spitty and sharp.
Using a uni-pivot is always an adjustment period for me, and for those who have never experienced it, you should make sure it isn't something that will be a negative in practice. I found that it was easiest to use the cueing lever, move the arm over, let it wobble a bit, and then lower it onto the record. By the time it hit the record it was not twisting. If you like to cue manually, then a firm grip is recommended and a slight twisting will occur as the arm is lowered to the record.
The next track I listened to was “Real Wild Child” from Iggy Pop's Blah-Blah-Blah. The sound from this record was neither recessed nor forward—just sort of there. Soundstage and imaging appeared accurate. Unfortunately, the sound wasn't really grooving/involving as I'd like. It didn't rock and it didn't make me want to continue listening either. On initial listening tests with another equipment combination (Jolida phonograph preamplifier and Krell Integrated Amp) the sound seemed disembodied and sluggish, but I had assumed that the table might be in need of the better phonograph preamplifier. It wasn't quite a lack of coherence, but it came across as blandness. Some of this quality was carried over to this second system, so I'm not sure what else besides the table was the cause. A fellow audiophile vinyl fanatic commented that he'd heard something similar from other high-mass tables.
At this point I felt I should change the cartridge as this was the only other variable that I could alter in an effort to make the Classic sound better. I had a Grado Reference Platinum that I thought might be a good starting point. It has the characteristics of the better wood-body cartridges, but at a lower price point. This table clearly deserves a better cartridge and if this sounded better in some ways, then that would be the solution. Had I known at the time that VPI was packaging the Classic with particular cartridges I would have asked to be sent one of those as well.
Listening Part II (Grado Reference Platinum Cartridge)
Compared to other tables changing the cartridge was relatively easy. The wood body cartridge was at home on the Classic in terms of its look. I was expecting to give up a little fidelity due to the price differential but the sound was less offensive. However, the slowness and lack of liveliness still made involvement difficult. I rechecked the speed with the strobe so I knew the table was not running slow, yet there was something missing.
I remounted the Virtuoso on the Marantz and set the tables up side by side for a comparison. In honor of the recently-deceased Michael Jackson, I put on one of the best pop albums of the 80s, Thriller. I used “Billie Jean” and went back and forth more than a few times. The amount of high frequency on the VPI was over the top—it almost sounded like white noise. Had I not checked the VTA with another disc, I would have thought there to be something amiss (or set wrong with the phonograph preamplifier). Bass was good and voice was locked in place, but there was a lot of sibilance. Surprisingly, the bass on the Marantz seemed better. The excessive high frequency sound was gone although there was still sibilance. Interestingly, what I was expecting (which was the Marantz to be the brighter sounding combination) did not occur, and although it wasn't as bright sounding as the VPI, there was still a good sense of space
Next up was “Toccata” from an old audiophile favorite, Fresh Aire III by Mannheim Steamroller. On the Marantz the high frequencies have nice delicacy, bass was not super-powerful but was tight. Involvement was good, but not special. On this track the VPI was mellow and had good tone. On this type of music the VPI was much better and was a more enjoyable listen than with the Marantz.
From Heart's Dreamboat Annie I played “Soul of the Sea.” The VPI had a bit of harshness on the vocals, guitar had extra clang to it and bass seemed a bit overblown. Balance was a bit of an issue. The Marantz offered richer mid-range, vocals sounded better, there was more top end (of the good kind) although there was a slight edge, and it was less than with the VPI.
With “Holding Back the Years” from Simply Red's Picture Book the Marantz sounded excellent. With the VPI there was a slight loss of resolution, but the mellowness that it offered might be what many people are looking for when listening to LPs.
For the last of my 80s kick I listened to “True Colors” from the album by Cyndi Lauper of the same name. The VPI presented the music pleasantly, with low listener fatigue. Like the last recording, the differences with the Marantz were in detail and portrayal of the top end—either you think this is an advantage or disadvantage depending on your listening taste.
Overall, I was a bit perplexed by the differences heard with the VPI table. I'm used to hearing strange frequency response anomalies with inexpensive speakers but not so with better quality audio components. Some recordings sounded highly listenable while others were not. Some of this was due to the recording, but that same record did not have issues with the other table/cartridge combination. The Virtuoso was not a great match with the VPI and the Grado seemed much better. A higher-end model might be a good compromise between a warmer sound and more detail and possibly, improve the involvement issues mentioned above. Still, some of the sonics seem to be attributed to the table, so careful matching should be observed and definitely a listen before purchase is recommended (as with any piece of audio gear).
Conclusion
VPI has thrown some of their previous design choices to the wind in creating the VPI Wood Classic. I haven't heard other VPI tables, so I can't comment on whether their implementation is better or worse in other models. They've gone from Acrylic platters to the cast aluminum (reminiscent of older designs from Thorens, etc), plinth design has changed and the motor is not separate from the table, but integrated into the plinth. I'll let the reader draw their own conclusions about these design choices.
In terms of sound I was not enamored with this table and its sheer size may prevent it from being an option for some prospective purchasers. I still think that perhaps performance could have been improved with an even more expensive cartridge; however its characteristic lack of drive seemed to carry over regardless of cartridge and/or equipment changes. Other reviews (although they are few and far between) have been positive about the sound of this table, so I am left a little curious. As always, ignore the hype, listen with your ears, and make an informed decision. If you've already invested in this table and are enjoying it, then happy spinning!
-- Brian Bloom big_brian_b@hotmail.com
AUDIOPHILE AUDITION focuses on recordings of interest to audiophiles and collectors, with an accent on surround sound for music, and on all hi-res disc formats. Over 100SACD, DVD Video/Audio and standard CD reviews are published during each month, and our archives go back to January 2001.
Copyright © Audiophile Audition All rights Reserved
Reprinted By Permission
Music News & Notes
The Plimsouls Live Album Coming Soon
Live! Beg, Borrow & Steal showcases The Plimsouls at the height of their power, tearing the roof off and on the verge of starting a riot on L.A.'s old Sunset Strip. Recorded at the Whisky A Go Go on October 31, 1981, this previously unreleased 18 song live album includes many of The Plimsouls' classics as well as plenty of surprises. It has been stunningly remastered, features previously unpublished and gorgeous photos by renowned photographer Bob Matheu, and also includes three pummeling tracks ("New Orleans," "Hey! Hey! Hey! Hey!" and "Run Run Run") with special guests The Fleshtones.
The album will be in-stores (in both vinyl and CD) and digitally online through Alive Records on February 23rd. The first vinyl pressing of the record will also include a poster and is limited to 1,000 copies. Considering that all of The Plimsouls official studio releases are currently out of print, this explosive live document of the band igniting The Whisky nearly three decades ago stands as not only a highly anticipated release from the band, but also as a testament to the power of pure, unadulterated rock & roll.
======================
Lennon's 70th Birthday
Yoko Ono appeared at the annual NAMM convention this past week to help kick off the year-long celebration of her late husband John Lennon's 70th birthday. Joining her on the stage were Quincy Jones and Jackson Browne who spoke about the importance of music education for American youth.
Ono talked about Lennon's legacy and her continued support for music education, speaking at length about the John Lennon Educational Tour Bus which gives students hands-on experience with music and the digital arts.
“John’s voice was unique and beautiful and his voice is still here traveling all over the United States on the John Lennon Educational Tour Bus, so that students across the country can make music.
"The John Lennon Educational Tour Bus is a non-profit outreach program with the mission of giving kids a chance to express themselves through music and video productions. It has been a living legacy to John’s passion for musical expression and artistic freedom. By utilizing the on-the-road John Lennon Educational Tour Bus and its fine studio set-up, thousands of students have written, recorded and produced original songs and videos – students who otherwise might not have had the opportunity to explore these avenues of creativity. At a time with music education in the schools is facing tough funding challenges, the Bus has been a rolling testament to the enduring, positive power of music making."
From a press release on the Lennon Bus:
The John Lennon Educational Tour Bus is a non-profit state-of-the-art mobile Pro Audio and HD video recording facility that provides hands-on experiences for students of all ages. In its 12th year of touring, the venture is proud of its brand new bus and its studios, which boast the latest audio and video technology, gear and products. The concept began as an offshoot of the John Lennon Songwriting Contest, which is dedicated to providing opportunities for both professional and amateur songwriters around the world. The Bus travels across the U.S. and Canada year-round, providing free tours and workshops at schools, retailers, festivals, on tours with headlining artists, and at major industry conferences. The Bus, a 501(c)(3) venture, is made possible through the generosity of sponsors including Apple, Maxell Corporation, NAMM, The Beatles: Rock Band, Gibson, Epiphone, Sony, Avid, Roland, Mackie, GHS Strings, Sonicbids, Disc Makers, Edirol by Roland, Blackheart Amps, Ampeg, Boss, Digital Media Academy, Aphex Systems, Audio-Technica, Glyph Technologies, Neutrik, Music Player Network, Propellerhead, Musician’s Friend, Harris Corporation, Ableton, Apogee, Litepanels, Applied Acoustics Systems, Antares, McDSP, IK Multimedia, Native Instruments, Slingerland Drums, Bogen Imaging, and Noise Industries. The John Lennon Educational Tour Bus is made possible by an agreement with Yoko Ono Lennon.
Live! Beg, Borrow & Steal showcases The Plimsouls at the height of their power, tearing the roof off and on the verge of starting a riot on L.A.'s old Sunset Strip. Recorded at the Whisky A Go Go on October 31, 1981, this previously unreleased 18 song live album includes many of The Plimsouls' classics as well as plenty of surprises. It has been stunningly remastered, features previously unpublished and gorgeous photos by renowned photographer Bob Matheu, and also includes three pummeling tracks ("New Orleans," "Hey! Hey! Hey! Hey!" and "Run Run Run") with special guests The Fleshtones.
The album will be in-stores (in both vinyl and CD) and digitally online through Alive Records on February 23rd. The first vinyl pressing of the record will also include a poster and is limited to 1,000 copies. Considering that all of The Plimsouls official studio releases are currently out of print, this explosive live document of the band igniting The Whisky nearly three decades ago stands as not only a highly anticipated release from the band, but also as a testament to the power of pure, unadulterated rock & roll.
======================
Lennon's 70th Birthday
Yoko Ono appeared at the annual NAMM convention this past week to help kick off the year-long celebration of her late husband John Lennon's 70th birthday. Joining her on the stage were Quincy Jones and Jackson Browne who spoke about the importance of music education for American youth.
Ono talked about Lennon's legacy and her continued support for music education, speaking at length about the John Lennon Educational Tour Bus which gives students hands-on experience with music and the digital arts.
“John’s voice was unique and beautiful and his voice is still here traveling all over the United States on the John Lennon Educational Tour Bus, so that students across the country can make music.
"The John Lennon Educational Tour Bus is a non-profit outreach program with the mission of giving kids a chance to express themselves through music and video productions. It has been a living legacy to John’s passion for musical expression and artistic freedom. By utilizing the on-the-road John Lennon Educational Tour Bus and its fine studio set-up, thousands of students have written, recorded and produced original songs and videos – students who otherwise might not have had the opportunity to explore these avenues of creativity. At a time with music education in the schools is facing tough funding challenges, the Bus has been a rolling testament to the enduring, positive power of music making."
From a press release on the Lennon Bus:
Friday, January 15, 2010
Michael Fremer Review
I am very happy to continue our 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. His DVD, "It's A Vinyl World, After All" is a must have for anybody who loves vinyl. Additionally, make sure to stop by his site, http://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:
The Twilight Hours (new release)
Stereo Night
Twilight Hours TTH LP-01 LP
Produced by: John Munson and Matt Wilson with Jacques Wait
Engineered by: Jacques Wait, others
Mixed by: Ryan Freeland
Mastered by: Richard Dodd
Review by: Michael Fremer
2010-01-01
This slab of red vinyl got plopped on the turntable and listened to before the unnoticed press blurb stuffed into the gatefold jacket made returning it from where it came impossible.
“No way these hook-drenched, mid-tempo pop tunes, packed with achingly beautiful melodies, meticulously arranged, played and recorded could be the work of first-timers,” I kept telling myself as one after another unfolded to my surprise and general delight.
That proved to be the case. The Minneapolis based duo of John Munson and Matt Wilson who are The Twilight Hours, have been around for decades, beginning with Trip Shakespeare in the late ‘80s and later, minus Matt, but including his brother Dan, as Semisonic, which scored a number one hit in 1998 with “Closing Time” contained on the platinum album Feeling Strangely Fine. “Closing Time” has been in commercials and even on a Simpson’s episode.
Matt Wilson recorded a solo album, then the duo re-united as The Flops; there was a jazz album minus Matt and now there’s this one due out at the end of January.
Stereo Night? You gotta love the title and believe me, the sound will kill you. These guys are doing what they love, but they’re hitting a bullseye on a target known as the “audiophile market,” with an album that’s so conceptually retro it might just be ahead of its time (one tune refers to “scratches in the groove”).
You’ll hear snippets of familiar pop/rock elements embedded within the smartly conceived arrangements, but will you be able to identify where you heard them? Perhaps when you get to “Goodbye Good Life” and then “Stay With You,” you’ll hear the Colin Blunstone/Odessey and Oracle connection.
If you like that album and don’t find it too icky-sweet you will gobble this one up with gusto, though these guys do occasionally veer too close to Wings territory—and I don’t mean Band on the Run Wings! But hell, if the worst thing one can say about this duo is that it sounds like The Zombies and Wings, how bad can it be?
So if you like The Zombies, The Odds, Big Star and The Left Banke’s “Walk Away Renee;” The Cars, Marshall Crenshaw, Pernice Brothers, Bread, Split Enz, Squeeze (minus that band’s playfulness) Queen’s ballads, soaring harmonies, juicy overdriven Tom Scholz/Brian May-like solo guitar fills and say, Fleetwood Mac’s “Spare Me A Little,” from the Bare Trees album, you’ll definitely dig all ten tunes on this album, even the bordering on treacle “Winter Blue” because it’s so damn well played, arranged and recorded and especially because the next tune, “Queen of Tomorrow” is harder, funnier and catchier— and you’re guaranteed to love the lyrics about a break up caused by the guy screwing with the girl’s stereo and her subsequent rock star success. There’s a pathetic/funny story twist not unlike Fountains of Wayne’s “Hackensack.”
Is there an element of calculation to the oh-so-earnest game plan? Yes. Will you enjoy being manipulated? If the last paragraph entices you, then yes. Even if the opener, “Dreams” strikes you as a bit saccharine, you’ll marvel at the craft and appreciate the placement perfection of the production elements. It’s a pop gem. The next tune injects another great hook but doesn’t hold up quite as well as it mimics The Cars and ends ala “You’re Just What I Needed.”
The laggard tempoed “Alone,” built upon a repeated triad and fitted with a soft kick drum and pedal steel fill may strike you as Shins-mope but once “My Return” gets rolling you’ll drop your reservations and buy into The Twilight Hours.
The lyrics are appropriately introspective, and deal with love, regret, abandonment, vulnerability, fear, nostalgia—the kind of subject matter that breed minor chord, sunset reverie.
The duo gets plenty of backing help, with drums, strings, sax, percussion, pedal steel and the like and with great engineering and mixing. Do a Google search and you can hear and see many of these tunes performed live, but to really hear it in all of its high fidelity glory, get the well-pressed red LP (by GZ in The Czech Republic through San Francisco's Pirates Press).
There’s not a false note struck on this exquisitely crafted, superbly recorded, highly recommended pop gem.
You can buy the vinyl at the group's website:
http://www.thetwilighthours.com/index.php/music/
SOURCE: http://www.musicangle.com/ Reprinted By Permission
and bookmark it for further exploration. I certainly want to thank Michael for the exclusive rights to reprint his fantastic material.
The Twilight Hours (new release)
Stereo Night
Twilight Hours TTH LP-01 LP
Produced by: John Munson and Matt Wilson with Jacques Wait
Engineered by: Jacques Wait, others
Mixed by: Ryan Freeland
Mastered by: Richard Dodd
Review by: Michael Fremer
2010-01-01
This slab of red vinyl got plopped on the turntable and listened to before the unnoticed press blurb stuffed into the gatefold jacket made returning it from where it came impossible.
“No way these hook-drenched, mid-tempo pop tunes, packed with achingly beautiful melodies, meticulously arranged, played and recorded could be the work of first-timers,” I kept telling myself as one after another unfolded to my surprise and general delight.
That proved to be the case. The Minneapolis based duo of John Munson and Matt Wilson who are The Twilight Hours, have been around for decades, beginning with Trip Shakespeare in the late ‘80s and later, minus Matt, but including his brother Dan, as Semisonic, which scored a number one hit in 1998 with “Closing Time” contained on the platinum album Feeling Strangely Fine. “Closing Time” has been in commercials and even on a Simpson’s episode.
Matt Wilson recorded a solo album, then the duo re-united as The Flops; there was a jazz album minus Matt and now there’s this one due out at the end of January.
Stereo Night? You gotta love the title and believe me, the sound will kill you. These guys are doing what they love, but they’re hitting a bullseye on a target known as the “audiophile market,” with an album that’s so conceptually retro it might just be ahead of its time (one tune refers to “scratches in the groove”).
You’ll hear snippets of familiar pop/rock elements embedded within the smartly conceived arrangements, but will you be able to identify where you heard them? Perhaps when you get to “Goodbye Good Life” and then “Stay With You,” you’ll hear the Colin Blunstone/Odessey and Oracle connection.
If you like that album and don’t find it too icky-sweet you will gobble this one up with gusto, though these guys do occasionally veer too close to Wings territory—and I don’t mean Band on the Run Wings! But hell, if the worst thing one can say about this duo is that it sounds like The Zombies and Wings, how bad can it be?
So if you like The Zombies, The Odds, Big Star and The Left Banke’s “Walk Away Renee;” The Cars, Marshall Crenshaw, Pernice Brothers, Bread, Split Enz, Squeeze (minus that band’s playfulness) Queen’s ballads, soaring harmonies, juicy overdriven Tom Scholz/Brian May-like solo guitar fills and say, Fleetwood Mac’s “Spare Me A Little,” from the Bare Trees album, you’ll definitely dig all ten tunes on this album, even the bordering on treacle “Winter Blue” because it’s so damn well played, arranged and recorded and especially because the next tune, “Queen of Tomorrow” is harder, funnier and catchier— and you’re guaranteed to love the lyrics about a break up caused by the guy screwing with the girl’s stereo and her subsequent rock star success. There’s a pathetic/funny story twist not unlike Fountains of Wayne’s “Hackensack.”
Is there an element of calculation to the oh-so-earnest game plan? Yes. Will you enjoy being manipulated? If the last paragraph entices you, then yes. Even if the opener, “Dreams” strikes you as a bit saccharine, you’ll marvel at the craft and appreciate the placement perfection of the production elements. It’s a pop gem. The next tune injects another great hook but doesn’t hold up quite as well as it mimics The Cars and ends ala “You’re Just What I Needed.”
The laggard tempoed “Alone,” built upon a repeated triad and fitted with a soft kick drum and pedal steel fill may strike you as Shins-mope but once “My Return” gets rolling you’ll drop your reservations and buy into The Twilight Hours.
The lyrics are appropriately introspective, and deal with love, regret, abandonment, vulnerability, fear, nostalgia—the kind of subject matter that breed minor chord, sunset reverie.
The duo gets plenty of backing help, with drums, strings, sax, percussion, pedal steel and the like and with great engineering and mixing. Do a Google search and you can hear and see many of these tunes performed live, but to really hear it in all of its high fidelity glory, get the well-pressed red LP (by GZ in The Czech Republic through San Francisco's Pirates Press).
There’s not a false note struck on this exquisitely crafted, superbly recorded, highly recommended pop gem.
You can buy the vinyl at the group's website:
http://www.thetwilighthours.com/index.php/music/
SOURCE: http://www.musicangle.com/ Reprinted By Permission
Music News & Notes
New Brian Jonestown Massacre
The Brian Jonestown Massacre is back and set to release their tenth studio album, Who Killed Sgt. Pepper? on February 23rd. The 13-track album was recorded throughout 2009 in Iceland and Berlin and features Spaceman 3 legend Will Carruthers on bass, vocalist Unnur Andrea Einarsdottir and a variety of international musicians contributing textures not previously heard on a BJM album. It is to be released on bandleader Anton Newcombe’s own label, “a recordings LTD”, distributed though Red Eye.
The album marks the return of guitarist/vocalist Matt Hollywood, an original member/co-founder of the band who helped write some of the BJM’s classic material from their early albums (Strung Out In Heaven, Their Satanic Majesties Second Request, Take It From The Man, Spacegirl & Other Oddities, Give It Back) as well as penning the infamous dig at the Dandy Warhols, “Not If You Were The Last Dandy on Earth”.
========================
Johnny Cash Album to be Released
Another Johnny Cash album from the Rick Rubin-produced American Recordings sessions will be released, reports Pitchfork. Four albums from the sessions were released before the country singer's death, in which he sang covers of Beck, Danzig and the popular Nine Inch Nails cover of "Hurt."
On Feb. 26, the final volume of the series, "American VI: Ain't No Grave," will be released via American/Lost Highway.
The album is yet again produced by Rick Rubin and features covers of Sheryl Crow's "Redemption Day," Tom Paxton's "Can't Help But Wonder Where I'm Bound" and Bob Nolan's "Cool Water," among others. It will also feature a new Cash song titled "I Corinthians: 15:55."
Indie rocker Matt Sweeney of Zwan fame and Smokey Hormel of Beck's band play on the album and Scott Avett, of the Avett Brothers, guests on the title track.
"Johnny said that recording was his main reason for being alive," said Rick Rubin in a statement. "I think it was the only thing that kept him going."
========================
Jay Reatard death treated as murder
Memphis Police are treating the death of garage rocker Jay Reatard as a murder and are calling for anyone with information for the investigation. The 29-year old (real name Jay Lindsay) was found dead at around 3:30am Sunday at his home in Cooper-Young, Tennessee.
Anyone with information is asked to call Crimestoppers at (901) 528-CASH or submit a tip to the website www.528cash.org. Information leading to an arrest has a $1000 bounty attached to it.
Jay Lee Lindsay Jr was born on May 1, 1980. He signed to Goner Records when he was 15-years old and scored an opening act slot soon after with Rocket From The Crypt. Jay named his first band The Reatards and adopted the surname.
The last album for Jay Reatard was 'Watch Me Fall’ in 2009.
========================
Bobby Charles has died
Singer-songwriter Charles – who penned hits such as 'Walking to New Orleans’ and 'See You Later Alligator’ – passed away at his home in Abbeville, Louisiana, at the age of 71 and while the cause of his death remains unknown, he suffered from diabetes and was in remission from kidney cancer.
His publicist Karen Johnson said: "He is a classic American songwriter. His songs are real American songs."
His long-time friend and music collaborator Dr. John said of Charles:
"We were very close for 40, 50 years. We started writing stuff together in the 70s. He was very easy to work with and a special guy."
========================
Alkaline Trio Addiction Coming Next Month
Alkaline Trio have announced the release of their forthcoming album, This Addiction, on February 23 via Epitaph Records/Heart & Skull.
Recorded and produced by the band with help from longtime cohort Matt Allison at Atlas Studios in Chicago, This Addiction marks Alkaline Trio’s first release on their imprint label Heart & Skull and first with their parent label Epitaph Records. The album also finds the Trio revisiting their punk roots while moving forward creatively.
"This record is a rock record but our punk rock upbringing definitely shines through, more so than our last few records," singer/guitarist Matt Skiba recently told .com. "The vibe is similar to our humble beginnings. It's a step forward but I also think it has glimmers of our past in it."
The album’s title track and first single wastes no time in setting the tone of the album as it rips and roars with Matt Skiba’s exceptional vocals and signature guitar riffs, bassist and co/vocalist Dan Andriano’s thumping low-end and drummer Derek Grant’s steadfast beats. From soon-to-be fan-favorites like the Andriano led rocker “Dine, Dine My Darling” and politically charged anthem “The American Scream” to the sonically mesmerizing rhythm and lyrics of “Dorothy” and the thrilling sing-along “Draculina,” This Addiction showcases Skiba, Andriano and Grant’s abounding gift for songwriting and crafting passionate punk fueled rock that will make fans fall in love with them all over again.
"I think that we wanted to make a punk rock record that we've been describing as 'thinking-man's punk,'" said Skiba. "We wanted to do something that's fun but also interesting and lyrically, something that will be fun for people to read along to and hopefully understand."
The band’s seventh studio album, This Addiction, will be available as a standard CD, a limited Deluxe CD/DVD edition (containing two bonus songs, four acoustic tracks and a full length concert DVD), as well as Gatefold LP vinyl. Epitaph will also have exclusive items signed by the band, rare vinyl and Limited Collector’s bundles - all with a standard digital download or a Deluxe Digital Download.
========================
DANZIG's '777 - I Luciferi' Released On Vinyl
Night Of The Vinyl Dead has released a limited-edition vinyl version of DANZIG's 2002 album, "777 - I Luciferi".
The package contains a 12-page photo book and screenprint by M. Fumi and is limited to 500 hand-numbered copies.
========================
EMI to Reissue Expanded John Lennon Albums
It's has been reported that EMI is planning on reissuing five of John Lennon's albums in expanded editions along with a box set retrospective. No titles or dates have been announced but it is known that the campaign will be based around what would have been his 70th birthday on October 9.
The Brian Jonestown Massacre is back and set to release their tenth studio album, Who Killed Sgt. Pepper? on February 23rd. The 13-track album was recorded throughout 2009 in Iceland and Berlin and features Spaceman 3 legend Will Carruthers on bass, vocalist Unnur Andrea Einarsdottir and a variety of international musicians contributing textures not previously heard on a BJM album. It is to be released on bandleader Anton Newcombe’s own label, “a recordings LTD”, distributed though Red Eye.
The album marks the return of guitarist/vocalist Matt Hollywood, an original member/co-founder of the band who helped write some of the BJM’s classic material from their early albums (Strung Out In Heaven, Their Satanic Majesties Second Request, Take It From The Man, Spacegirl & Other Oddities, Give It Back) as well as penning the infamous dig at the Dandy Warhols, “Not If You Were The Last Dandy on Earth”.
========================
Johnny Cash Album to be Released
Another Johnny Cash album from the Rick Rubin-produced American Recordings sessions will be released, reports Pitchfork. Four albums from the sessions were released before the country singer's death, in which he sang covers of Beck, Danzig and the popular Nine Inch Nails cover of "Hurt."
On Feb. 26, the final volume of the series, "American VI: Ain't No Grave," will be released via American/Lost Highway.
The album is yet again produced by Rick Rubin and features covers of Sheryl Crow's "Redemption Day," Tom Paxton's "Can't Help But Wonder Where I'm Bound" and Bob Nolan's "Cool Water," among others. It will also feature a new Cash song titled "I Corinthians: 15:55."
Indie rocker Matt Sweeney of Zwan fame and Smokey Hormel of Beck's band play on the album and Scott Avett, of the Avett Brothers, guests on the title track.
"Johnny said that recording was his main reason for being alive," said Rick Rubin in a statement. "I think it was the only thing that kept him going."
========================
Jay Reatard death treated as murder
Memphis Police are treating the death of garage rocker Jay Reatard as a murder and are calling for anyone with information for the investigation. The 29-year old (real name Jay Lindsay) was found dead at around 3:30am Sunday at his home in Cooper-Young, Tennessee.
Anyone with information is asked to call Crimestoppers at (901) 528-CASH or submit a tip to the website www.528cash.org. Information leading to an arrest has a $1000 bounty attached to it.
Jay Lee Lindsay Jr was born on May 1, 1980. He signed to Goner Records when he was 15-years old and scored an opening act slot soon after with Rocket From The Crypt. Jay named his first band The Reatards and adopted the surname.
The last album for Jay Reatard was 'Watch Me Fall’ in 2009.
========================
Bobby Charles has died
Singer-songwriter Charles – who penned hits such as 'Walking to New Orleans’ and 'See You Later Alligator’ – passed away at his home in Abbeville, Louisiana, at the age of 71 and while the cause of his death remains unknown, he suffered from diabetes and was in remission from kidney cancer.
His publicist Karen Johnson said: "He is a classic American songwriter. His songs are real American songs."
His long-time friend and music collaborator Dr. John said of Charles:
"We were very close for 40, 50 years. We started writing stuff together in the 70s. He was very easy to work with and a special guy."
========================
Alkaline Trio Addiction Coming Next Month
Alkaline Trio have announced the release of their forthcoming album, This Addiction, on February 23 via Epitaph Records/Heart & Skull.
Recorded and produced by the band with help from longtime cohort Matt Allison at Atlas Studios in Chicago, This Addiction marks Alkaline Trio’s first release on their imprint label Heart & Skull and first with their parent label Epitaph Records. The album also finds the Trio revisiting their punk roots while moving forward creatively.
"This record is a rock record but our punk rock upbringing definitely shines through, more so than our last few records," singer/guitarist Matt Skiba recently told .com. "The vibe is similar to our humble beginnings. It's a step forward but I also think it has glimmers of our past in it."
The album’s title track and first single wastes no time in setting the tone of the album as it rips and roars with Matt Skiba’s exceptional vocals and signature guitar riffs, bassist and co/vocalist Dan Andriano’s thumping low-end and drummer Derek Grant’s steadfast beats. From soon-to-be fan-favorites like the Andriano led rocker “Dine, Dine My Darling” and politically charged anthem “The American Scream” to the sonically mesmerizing rhythm and lyrics of “Dorothy” and the thrilling sing-along “Draculina,” This Addiction showcases Skiba, Andriano and Grant’s abounding gift for songwriting and crafting passionate punk fueled rock that will make fans fall in love with them all over again.
"I think that we wanted to make a punk rock record that we've been describing as 'thinking-man's punk,'" said Skiba. "We wanted to do something that's fun but also interesting and lyrically, something that will be fun for people to read along to and hopefully understand."
The band’s seventh studio album, This Addiction, will be available as a standard CD, a limited Deluxe CD/DVD edition (containing two bonus songs, four acoustic tracks and a full length concert DVD), as well as Gatefold LP vinyl. Epitaph will also have exclusive items signed by the band, rare vinyl and Limited Collector’s bundles - all with a standard digital download or a Deluxe Digital Download.
========================
DANZIG's '777 - I Luciferi' Released On Vinyl
Night Of The Vinyl Dead has released a limited-edition vinyl version of DANZIG's 2002 album, "777 - I Luciferi".
The package contains a 12-page photo book and screenprint by M. Fumi and is limited to 500 hand-numbered copies.
========================
EMI to Reissue Expanded John Lennon Albums
It's has been reported that EMI is planning on reissuing five of John Lennon's albums in expanded editions along with a box set retrospective. No titles or dates have been announced but it is known that the campaign will be based around what would have been his 70th birthday on October 9.
This Date In Music History-January 15
Birthdays:
Rock-pioneer Captain Beefheart (real name Don Van Vliet) was born in Glendale, CA in 1941. The owner of a remarkable four-and-one-half octave vocal range, he employed idiosyncratic rhythms, absurdist lyrics and an unholy alliance of free jazz, Delta blues, latter-day classical music and rock & roll to create a singular body of work virtually unrivalled in its daring and fluid creativity. While he never came even remotely close to mainstream success, Beefheart's impact was incalculable, and his fingerprints were all over punk, new wave and post-rock.
Edward Bivens - Manhattans (1942)
1947, Born on this day, Pete Waterman, producer, TV presenter and part of the Stock, Aitken & Waterman team. Booked the first ever tour for The Bay City Rollers, signed Musical Youth and Nik Kershaw, during the 70’s was promotion consultant for John Travolta. Dominated UK pop in the mid-to-late 1980s. as part of S.A.W. the most successful pop writers & producers of all time producing Bananarama, Kylie Minogue, Rick Astley, Jason Donovan. Judge on UK TV’s Pop Stars.
Martha Davis - Motels (1951)
Melvyn Gale - Electric Light Orchestra (1952)
Boris Blank - Yello (1953)
Douglas Elwin Erikson - Garbage (1953)
Peter Trewavas - Marillion (1959)
Adam Jones - Tool (1965)
Lisa Velez - Lisa Lisa & Cult Jam (1967)
They Are Missed:
Gene Krupa, the premier drummer of the big band era, was born in Chicago today in 1909.
Born on this day in 1948, Ronnie Van Zant, vocalist with Lynyrd Skynyrd, he died in a plane crash on October 20th 1977.
Dee Murray, long time bassist for Elton John, died of cancer in 1992. He was 45.
Lyricist Sammy Cahn, responsible for such Oscar-winning songs as "Call Me Irresponsible," "Three Coins in the Fountain" and "All the Way," died in Los Angeles in 1993 (age 79).
In 1994, singer songwriter Harry Nilsson died in his sleep of heart failure after spending the previous day in the recording studio. He recorded "Everybody's Talkin" from the film 'Midnight Cowboy' and wrote hits for Three Dog Night and The Monkees. Had the UK & US #1 single with his version of Badfinger Evans & Ham song "Without You." When John Lennon and Paul McCartney held a press conference in 1968 to announce the formation of Apple Corps, John was asked to name his favorite American artist. He replied, "Nilsson." Paul was then asked to name his favorite American group. He replied, "Nilsson."
In 1996, orchestra leader Les Baxter died in Newport Beach, California, of a heart attack brought on by kidney failure at age 73.
Harmonica player Junior Wells died (born Amos Blakemore) in 1998. Worked with Muddy Waters, Van Morrison, Carlos Santana, Bonnie Raitt and The Rolling Stones.
History:
The Everly Brothers made their debut on British TV in 1958, appearing on The Perry Como Show.
Elvis Presley recorded "Hard Headed Woman" in 1958.
Motown Records signed The Supremes in 1961.
Drummer Charlie Watts joined the Rolling Stones in 1962. The band’s original line-up is now complete.
In 1964, Vee Jay records filed a lawsuit against Capitol and Swan Records over manufacturing and distribution rights to Beatles recordings.
In 1965, Murray the K, a New York deejay known as the "Fifth Beatle" told the "New Musical Express" that "outside of the Beatles, British bands can't carry a show by themselves."
The Who's first single (with Jimmy Page on guitar), "I Can't Explain," was released in Britain in 1965. The record was ignored until the Who appeared on the TV program "Ready, Steady, Go," where Pete Townsend smashed his guitar and Keith Moon overturned his drums. "I Can't Explain" rose to number eight on the British chart, selling 100,000 copies in six weeks.
The Rolling Stones received their third gold record in 1966 for the album "December's Children." It featured the tunes "Get Off My Cloud," "Route 66," "As Tears Go By" and "I'm Free."
In 1967, the Rolling Stones were forced to change the lyrics of "Lets Spend The Night Together" to 'Lets Spend Some Time Together' when appearing on the US TV's The Ed Sullivan Show after the producers objected to the content of the lyrics.
Also in 1967, Donovan appeared at The Royal Albert Hall, London, Paul McCartney and George Harrison both attended the show.
In 1969, George Harrison had a five-hour meeting with John, Paul and Ringo where he made it clear that he was fully prepared to quit The Beatles for good. Harrison wasn’t happy with plans for live performances and the Let It Be film project.
George Harrison released "My Sweet Lord" in 1971.
In 1972, Don McLean's "American Pie" started a four week run at #1 in the US singles chart.
Also in 1972 - Elvis Presley reportedly drew the largest audience for a single TV show to that time when he presented a live, worldwide concert from Honolulu, HI.
In 1973, the Rolling Stones announced they'll put on a benefit concert for the people of Managua, Nicaragua, which had been devestated by an earthquake back on December 23. Nicaragua is the home of Jagger's wife, Bianca.
Brownsville Station, described by leader Cub Koda as "Chuck Berry 1973 filtered through three madmen," earns a gold record in 1974 for their only hit "Smokin' in the Boys' Room."
"Happy Days" premiered on ABC-TV in 1974.
Guitarist Joe Walsh makes his debut with the Eagles in 1976. He’s onboard for the group’s Australia/Japan tour.
The Eagles went to #1 on the US album chart in 1977 with 'Hotel California' the group's third US #1 album.
UK singer Leo Sayer went to #1 on the US singles chart in 1977 with 'You Make Me Feel Like Dancing', it was the first of two US #1's for the singer.
Men At Work started a four week run at No.1 in the US singles chart in 1983 with "Down Under," the Australian act group's second US #1, also a #1 in the UK.
Sean Lennon's remake of his father's "Give Peace A Chance" was released in 1991 to coincide with the United Nation's midnight deadline for Iraq to withdraw from Kuwait. The lyrics are updated to reflect concerns of the 1990's.
A lyric sheet to the Beatles' "While My Guitar Gently Weeps," handwritten by George Harrison, goes for $300,000 at an auction in Scottsdale, AZ in 2007. Producer George Martin's score for the version of "Weeps" created for the Beatles' "Love" soundtrack album was also sold. A military tunic worn by John Lennon sells for $350,000 while a set of Beatles suits dating from '64 go for $30,000.
Rock-pioneer Captain Beefheart (real name Don Van Vliet) was born in Glendale, CA in 1941. The owner of a remarkable four-and-one-half octave vocal range, he employed idiosyncratic rhythms, absurdist lyrics and an unholy alliance of free jazz, Delta blues, latter-day classical music and rock & roll to create a singular body of work virtually unrivalled in its daring and fluid creativity. While he never came even remotely close to mainstream success, Beefheart's impact was incalculable, and his fingerprints were all over punk, new wave and post-rock.
Edward Bivens - Manhattans (1942)
1947, Born on this day, Pete Waterman, producer, TV presenter and part of the Stock, Aitken & Waterman team. Booked the first ever tour for The Bay City Rollers, signed Musical Youth and Nik Kershaw, during the 70’s was promotion consultant for John Travolta. Dominated UK pop in the mid-to-late 1980s. as part of S.A.W. the most successful pop writers & producers of all time producing Bananarama, Kylie Minogue, Rick Astley, Jason Donovan. Judge on UK TV’s Pop Stars.
Martha Davis - Motels (1951)
Melvyn Gale - Electric Light Orchestra (1952)
Boris Blank - Yello (1953)
Douglas Elwin Erikson - Garbage (1953)
Peter Trewavas - Marillion (1959)
Adam Jones - Tool (1965)
Lisa Velez - Lisa Lisa & Cult Jam (1967)
They Are Missed:
Gene Krupa, the premier drummer of the big band era, was born in Chicago today in 1909.
Born on this day in 1948, Ronnie Van Zant, vocalist with Lynyrd Skynyrd, he died in a plane crash on October 20th 1977.
Dee Murray, long time bassist for Elton John, died of cancer in 1992. He was 45.
Lyricist Sammy Cahn, responsible for such Oscar-winning songs as "Call Me Irresponsible," "Three Coins in the Fountain" and "All the Way," died in Los Angeles in 1993 (age 79).
In 1994, singer songwriter Harry Nilsson died in his sleep of heart failure after spending the previous day in the recording studio. He recorded "Everybody's Talkin" from the film 'Midnight Cowboy' and wrote hits for Three Dog Night and The Monkees. Had the UK & US #1 single with his version of Badfinger Evans & Ham song "Without You." When John Lennon and Paul McCartney held a press conference in 1968 to announce the formation of Apple Corps, John was asked to name his favorite American artist. He replied, "Nilsson." Paul was then asked to name his favorite American group. He replied, "Nilsson."
In 1996, orchestra leader Les Baxter died in Newport Beach, California, of a heart attack brought on by kidney failure at age 73.
Harmonica player Junior Wells died (born Amos Blakemore) in 1998. Worked with Muddy Waters, Van Morrison, Carlos Santana, Bonnie Raitt and The Rolling Stones.
History:
The Everly Brothers made their debut on British TV in 1958, appearing on The Perry Como Show.
Elvis Presley recorded "Hard Headed Woman" in 1958.
Motown Records signed The Supremes in 1961.
Drummer Charlie Watts joined the Rolling Stones in 1962. The band’s original line-up is now complete.
In 1964, Vee Jay records filed a lawsuit against Capitol and Swan Records over manufacturing and distribution rights to Beatles recordings.
In 1965, Murray the K, a New York deejay known as the "Fifth Beatle" told the "New Musical Express" that "outside of the Beatles, British bands can't carry a show by themselves."
The Who's first single (with Jimmy Page on guitar), "I Can't Explain," was released in Britain in 1965. The record was ignored until the Who appeared on the TV program "Ready, Steady, Go," where Pete Townsend smashed his guitar and Keith Moon overturned his drums. "I Can't Explain" rose to number eight on the British chart, selling 100,000 copies in six weeks.
The Rolling Stones received their third gold record in 1966 for the album "December's Children." It featured the tunes "Get Off My Cloud," "Route 66," "As Tears Go By" and "I'm Free."
In 1967, the Rolling Stones were forced to change the lyrics of "Lets Spend The Night Together" to 'Lets Spend Some Time Together' when appearing on the US TV's The Ed Sullivan Show after the producers objected to the content of the lyrics.
Also in 1967, Donovan appeared at The Royal Albert Hall, London, Paul McCartney and George Harrison both attended the show.
In 1969, George Harrison had a five-hour meeting with John, Paul and Ringo where he made it clear that he was fully prepared to quit The Beatles for good. Harrison wasn’t happy with plans for live performances and the Let It Be film project.
George Harrison released "My Sweet Lord" in 1971.
In 1972, Don McLean's "American Pie" started a four week run at #1 in the US singles chart.
Also in 1972 - Elvis Presley reportedly drew the largest audience for a single TV show to that time when he presented a live, worldwide concert from Honolulu, HI.
In 1973, the Rolling Stones announced they'll put on a benefit concert for the people of Managua, Nicaragua, which had been devestated by an earthquake back on December 23. Nicaragua is the home of Jagger's wife, Bianca.
Brownsville Station, described by leader Cub Koda as "Chuck Berry 1973 filtered through three madmen," earns a gold record in 1974 for their only hit "Smokin' in the Boys' Room."
"Happy Days" premiered on ABC-TV in 1974.
Guitarist Joe Walsh makes his debut with the Eagles in 1976. He’s onboard for the group’s Australia/Japan tour.
The Eagles went to #1 on the US album chart in 1977 with 'Hotel California' the group's third US #1 album.
UK singer Leo Sayer went to #1 on the US singles chart in 1977 with 'You Make Me Feel Like Dancing', it was the first of two US #1's for the singer.
Men At Work started a four week run at No.1 in the US singles chart in 1983 with "Down Under," the Australian act group's second US #1, also a #1 in the UK.
Sean Lennon's remake of his father's "Give Peace A Chance" was released in 1991 to coincide with the United Nation's midnight deadline for Iraq to withdraw from Kuwait. The lyrics are updated to reflect concerns of the 1990's.
A lyric sheet to the Beatles' "While My Guitar Gently Weeps," handwritten by George Harrison, goes for $300,000 at an auction in Scottsdale, AZ in 2007. Producer George Martin's score for the version of "Weeps" created for the Beatles' "Love" soundtrack album was also sold. A military tunic worn by John Lennon sells for $350,000 while a set of Beatles suits dating from '64 go for $30,000.
Thursday, January 14, 2010
Music News & Notes
Teddy Pendergrass Dies
The "If You Don’t know Me By Now" hitmaker, who was paralyzed from the waist down from a car accident in 1982, passed away in Philadelphia at age 59, after a battle with colon cancer.
Soul singer Teddy – who shot to fame as singer in Harold Melvin and the Blue Notes - was the first black male singer to record five consecutive multi-platinum albums in the US, and didn’t tour for nearly 20 years after the car accident which left him paralyzed.
His son, Teddy Pendergrass II, said: 'To all his fans who loved his music, thank you. He will live on through his music.'
The singer’s friend and long-time collaborator Kenny Gamble said that despite his difficult condition, he never felt sorry for himself.
He added: "In quite moments, he probably did a lot of reflection. But I never saw him pity himself."
"He stayed busy. But I feel that he’s in a better place now, he doesn’t have to go through that pain or whatever he was going through anymore."
=========================
Mightier Than Sword Records re-releasing pop-punk classics on vinyl
Mightier Than Sword Records got a license to print money when they landed the contract to repress Blink 182's catalog on vinyl. They're taking the press they've received -- and the attendant money -- to continue to repress some of the classic pop-punk releases of the late '90s.
In the coming months, you can look forward to reliving your youth with the following records:
The Juliana Theory - Understand This Is A Dream - 10th Anniv. Series #2 - March 23
The Ataris - Blue Skies, Broken Hearts...Next 12 Exits - 10th Anniv. Series #3 - April 13
Both are limited pressings of 500 on 180 gram black vinyl.
=========================
Autechre to Releases New Album
Iconic electronic mavericks Autechre are set to return in 2010 with their new album 'Oversteps'. Autechre are one of the most groundbreaking acts in British music. Fired up by the Acid House explosion Rob Brown and Sean Booth choose to ignore dancefloor possibilities and experiment with sound. As a result Autechre's music sounds unlike anything around it. From their initial recordings to debut album 'Incunabula' and beyond the duo have spent the best part of twenty years crafting a unique back catalogue.
The Warp mainstays were an important part of the label's 20th anniversary celebrations last year. Having been signed with the imprint for the bulk of those two decades, Autechre were perfectly placed to pay tribute to Warp. Playing a series of celebratory shows, Autechre have also been working on a new album. The follow up to 2008's dense work 'Quaristice' new album 'Oversteps' comes as Warp Records looks again to the future.
Available as a download, the new album will also be released on CD and lavish vinyl. The deluxe vinyl edition will include a specially designed sleeve, a massive double sided poster and more.
=========================
Knack’s Fieger Battling Cancer
This from http://www.pollstar.com/
The Knack’s Doug Fieger is suffering from brain and lung cancer, causing the man who sang the 1979 monster hit “My Sharona,” to reflect on his life, mortality and life’s final curtain call.
“Everybody is in the same spot,” the 57-year-old Fieger told his hometown newspaper, the Detroit News, during a phone interview while resting in his Southern California home. “I just know there is something that will potentially end my time here.”
Fieger’s first bout with cancer occurred in 2004 when surgeons removed a portion of his lung. Thinking the problem was solved, Fieger continued to do the occasional Knack date, and it was while performing with the band two years ago in Las Vegas that he realized he had forgotten the words to “My Sharona.” Since then, doctors determined Fieger suffered from more than 20 brain tumors.
As with many cancer patients, the treatment is often more painful than the disease. Fieger told the News that he’s “weak but pain-free” and that the treatment had taken its toll on him, causing him to decline further therapy.
He’s also dropped a lot of weight. His ex-wife, Mia, has been taking care of him and the singer credits her with helping him push his weight back up to 140 pounds, which isn’t all that much when you’re six feet tall.
But no matter what happens, Fieger is pretty philosophical about it all, saying he’s led a good life and that’s he’s been sober for 26 years.
And he’s still somewhat optimistic.
“My grandmother from Brooklyn used to come visit my family in Oak Park for the summer,” Fieger told the News, saying she was once diagnosed with cancer and given three years to live.
“She lived 21 more years,” Fieger said, “and didn’t die of cancer. So you can never tell.”
=========================
Yoko Ono & Band Perfomance
A host of stars have signed on for a February 16 performance by Yoko Ono and the Plastic Ono Band at the Brooklyn Academy of Music. Eric Clapton and Klauss Voorman from the original group will be back along with Paul Simon and son Harper Simon, Thurston Moore and Kim Gordon of Sonic Youth, Bette Midler, Jim Keltner, Sean Lennon, Martha Wainwright, Mark Ronson and the Scissor Sisters.
The "If You Don’t know Me By Now" hitmaker, who was paralyzed from the waist down from a car accident in 1982, passed away in Philadelphia at age 59, after a battle with colon cancer.
Soul singer Teddy – who shot to fame as singer in Harold Melvin and the Blue Notes - was the first black male singer to record five consecutive multi-platinum albums in the US, and didn’t tour for nearly 20 years after the car accident which left him paralyzed.
His son, Teddy Pendergrass II, said: 'To all his fans who loved his music, thank you. He will live on through his music.'
The singer’s friend and long-time collaborator Kenny Gamble said that despite his difficult condition, he never felt sorry for himself.
He added: "In quite moments, he probably did a lot of reflection. But I never saw him pity himself."
"He stayed busy. But I feel that he’s in a better place now, he doesn’t have to go through that pain or whatever he was going through anymore."
=========================
Mightier Than Sword Records re-releasing pop-punk classics on vinyl
Mightier Than Sword Records got a license to print money when they landed the contract to repress Blink 182's catalog on vinyl. They're taking the press they've received -- and the attendant money -- to continue to repress some of the classic pop-punk releases of the late '90s.
In the coming months, you can look forward to reliving your youth with the following records:
The Juliana Theory - Understand This Is A Dream - 10th Anniv. Series #2 - March 23
The Ataris - Blue Skies, Broken Hearts...Next 12 Exits - 10th Anniv. Series #3 - April 13
Both are limited pressings of 500 on 180 gram black vinyl.
=========================
Autechre to Releases New Album
Iconic electronic mavericks Autechre are set to return in 2010 with their new album 'Oversteps'. Autechre are one of the most groundbreaking acts in British music. Fired up by the Acid House explosion Rob Brown and Sean Booth choose to ignore dancefloor possibilities and experiment with sound. As a result Autechre's music sounds unlike anything around it. From their initial recordings to debut album 'Incunabula' and beyond the duo have spent the best part of twenty years crafting a unique back catalogue.
The Warp mainstays were an important part of the label's 20th anniversary celebrations last year. Having been signed with the imprint for the bulk of those two decades, Autechre were perfectly placed to pay tribute to Warp. Playing a series of celebratory shows, Autechre have also been working on a new album. The follow up to 2008's dense work 'Quaristice' new album 'Oversteps' comes as Warp Records looks again to the future.
Available as a download, the new album will also be released on CD and lavish vinyl. The deluxe vinyl edition will include a specially designed sleeve, a massive double sided poster and more.
=========================
Knack’s Fieger Battling Cancer
This from http://www.pollstar.com/
The Knack’s Doug Fieger is suffering from brain and lung cancer, causing the man who sang the 1979 monster hit “My Sharona,” to reflect on his life, mortality and life’s final curtain call.
“Everybody is in the same spot,” the 57-year-old Fieger told his hometown newspaper, the Detroit News, during a phone interview while resting in his Southern California home. “I just know there is something that will potentially end my time here.”
Fieger’s first bout with cancer occurred in 2004 when surgeons removed a portion of his lung. Thinking the problem was solved, Fieger continued to do the occasional Knack date, and it was while performing with the band two years ago in Las Vegas that he realized he had forgotten the words to “My Sharona.” Since then, doctors determined Fieger suffered from more than 20 brain tumors.
As with many cancer patients, the treatment is often more painful than the disease. Fieger told the News that he’s “weak but pain-free” and that the treatment had taken its toll on him, causing him to decline further therapy.
He’s also dropped a lot of weight. His ex-wife, Mia, has been taking care of him and the singer credits her with helping him push his weight back up to 140 pounds, which isn’t all that much when you’re six feet tall.
But no matter what happens, Fieger is pretty philosophical about it all, saying he’s led a good life and that’s he’s been sober for 26 years.
And he’s still somewhat optimistic.
“My grandmother from Brooklyn used to come visit my family in Oak Park for the summer,” Fieger told the News, saying she was once diagnosed with cancer and given three years to live.
“She lived 21 more years,” Fieger said, “and didn’t die of cancer. So you can never tell.”
Yoko Ono & Band Perfomance
A host of stars have signed on for a February 16 performance by Yoko Ono and the Plastic Ono Band at the Brooklyn Academy of Music. Eric Clapton and Klauss Voorman from the original group will be back along with Paul Simon and son Harper Simon, Thurston Moore and Kim Gordon of Sonic Youth, Bette Midler, Jim Keltner, Sean Lennon, Martha Wainwright, Mark Ronson and the Scissor Sisters.
Wednesday, January 13, 2010
Here is a local story from Oregon about our beloved vinyl. Thank you to Nancy Anderson at http://www.oregonlive.com for allowing me to reprint this interesting material:
Hillsboro woman is devoted to vintage vinyl LPs -- and makes it pay
Jan Nissen's home office in Hillsboro is packed with dinosaurs -- thousands of vinyl records side by side and categorized by decades from the 1940s to the 1970s.
The 62-year-old great-grandmother launched a small business to cater to a renewed interest in retro LPs, and she's found customers around the world willing to pay plenty for the pleasure of analog sound and the dramatically illustrated album covers and extensive liner notes.
"I could not have imagined this in my wildest dreams," says Nissen, owner of Gosinta: My store for Turntables, Vinyl Records and More, (http://stores.ebay.com/Gosinta) which pretty much describes the contents of her online store, which is in fact that small home office.
Her timing was perfect, just as vinyl LPs became cool again in our digital age. Album sales have resurged in the last decade. The beauty of imperfect analog has been discovered by a generation raised on digital -- and remembered fondly by older audiophiles.
In 2005, Nissen and her husband, Nick, stopped at a garage sale not far from home. It was the last day, and everything was half price. So they pulled over the car and decided to browse. For $20 she walked away with at least 1,000 records and a vague notion she'd try to make a few bucks by selling the records online. But when her first sale to a customer in Russia went for $178, her little hobby quickly turned into a second career.
Today, she sells a few hundred albums online every month. Most go for $10 to $25, and rarely less than $5. The prize in her collection: the 1971 soundtrack to the movie "The Andromeda Strain" valued at nearly $1,000.
"This is a mom-and-pop business," Nissen says, "but mostly mom." While husband Nick works days as a facility supervisor for the city of Tigard, she carefully follows up on more than 150 daily emails, categorizes and prices each record, and processes and ships orders.
Back in the 1960s, Nissen began working in administration in the music industry and stayed for 40 years. Now she's back in an industry she loved and grew up in. She understands the nostalgia attached to the albums, and judging by sales, plenty of her customers do, too.
"It's like visiting an old friend," Nissen says. "The feel in your hands, the pictures and the sound are all a part of it. Records bring people together, back to the days when listening to music was a family affair and something shared with friends."
Her most prized LP is a vintage Van Morrison, "Tupelo Honey." She has one copy. It's not for sale.
Since she started, she's launched a Web site to update her customers and celebrate music history. She's kept her business small and sticks to the basics.
"Catch a hold of your dream and ride it," she says. "That's the first step. Also, be willing to fail. Failure will show you where to make a turn and go a better way."
Five years later records now come to her from throughout Oregon, mostly through referrals.
"Some people want to part with their records and I find them a new home," Nissen says. "It's exciting. Look at all these beautiful records. And I haven't been to a garage sale in over a year."
Written by -- Nancy Anderson
http://www.oregonlive.com/
Hillsboro woman is devoted to vintage vinyl LPs -- and makes it pay
Jan Nissen's home office in Hillsboro is packed with dinosaurs -- thousands of vinyl records side by side and categorized by decades from the 1940s to the 1970s.
The 62-year-old great-grandmother launched a small business to cater to a renewed interest in retro LPs, and she's found customers around the world willing to pay plenty for the pleasure of analog sound and the dramatically illustrated album covers and extensive liner notes.
"I could not have imagined this in my wildest dreams," says Nissen, owner of Gosinta: My store for Turntables, Vinyl Records and More, (http://stores.ebay.com/Gosinta) which pretty much describes the contents of her online store, which is in fact that small home office.
Her timing was perfect, just as vinyl LPs became cool again in our digital age. Album sales have resurged in the last decade. The beauty of imperfect analog has been discovered by a generation raised on digital -- and remembered fondly by older audiophiles.
In 2005, Nissen and her husband, Nick, stopped at a garage sale not far from home. It was the last day, and everything was half price. So they pulled over the car and decided to browse. For $20 she walked away with at least 1,000 records and a vague notion she'd try to make a few bucks by selling the records online. But when her first sale to a customer in Russia went for $178, her little hobby quickly turned into a second career.
Today, she sells a few hundred albums online every month. Most go for $10 to $25, and rarely less than $5. The prize in her collection: the 1971 soundtrack to the movie "The Andromeda Strain" valued at nearly $1,000.
"This is a mom-and-pop business," Nissen says, "but mostly mom." While husband Nick works days as a facility supervisor for the city of Tigard, she carefully follows up on more than 150 daily emails, categorizes and prices each record, and processes and ships orders.
Back in the 1960s, Nissen began working in administration in the music industry and stayed for 40 years. Now she's back in an industry she loved and grew up in. She understands the nostalgia attached to the albums, and judging by sales, plenty of her customers do, too.
"It's like visiting an old friend," Nissen says. "The feel in your hands, the pictures and the sound are all a part of it. Records bring people together, back to the days when listening to music was a family affair and something shared with friends."
Her most prized LP is a vintage Van Morrison, "Tupelo Honey." She has one copy. It's not for sale.
Since she started, she's launched a Web site to update her customers and celebrate music history. She's kept her business small and sticks to the basics.
"Catch a hold of your dream and ride it," she says. "That's the first step. Also, be willing to fail. Failure will show you where to make a turn and go a better way."
Five years later records now come to her from throughout Oregon, mostly through referrals.
"Some people want to part with their records and I find them a new home," Nissen says. "It's exciting. Look at all these beautiful records. And I haven't been to a garage sale in over a year."
Written by -- Nancy Anderson
http://www.oregonlive.com/
Ask Mr. Music by Jerry Osborne
Let's continue our feature: Ask "Mr. Music." Now in its 24th year of syndication (1986-2010), Jerry Osborne's weekly Q&A feature will be a regular post every Wednesday from now on. Be sure to stop by Jerry's site (http://www.jerryosborne.com/) for more Mr. Music archives, record price guides, anything Elvis, buy & sell collectibles, record appraisals and much more. I thank Jerry for allowing the reprints.
FOR THE WEEK OF JANUARY 11, 2010
DEAR JERRY: Years ago you provided some little-known details about the pre-Beverly Hills “Beverly Hillbillies”; facts regarding the theme song as well as the show in general.
Is my memory correct that there were occasional character and plot crossovers between this series and “Petticoat Junction”?
You indicate the Hillbillies theme is performed by Flatt & Scruggs. Is the Junction theme also by them?
Both shows seem to be set in roughly the same rural setting. Is that the case?
Do any of the TV characters represent real people?
—Sherry Buckman, Fond du Lac, Wisc.
DEAR SHERRY: The crossovers are because Paul Henning is the creator-producer of both “The Beverly Hillbillies” and “Petticoat Junction,” along with “Green Acres”; “The Bob Cummings Show”; “Startime”; and many others.
For example, in one “Beverly Hillbillies” episode, “Christmas in Hooterville,” aired December 25, 1968, the Clampetts spent Christmas at Petticoat Junction's Shady Rest Hotel.
In 1962, Lester Flatt & Earl Scruggs recorded the “Beverly Hillbillies” TV theme as well as the hit single, “The Ballad of Jed Clampett” (Columbia 42606).
A little over a year later, Flatt & Scruggs waxed their version of “Petticoat Junction” (Columbia 42982), also a sizable hit for them.
However, the version played on the weekly sitcom is by Curt Massey, who co-wrote the song with Paul Henning. Massey also issued it on vinyl (Capitol 5135) in early '64.
As for the untold, scenes-behind-the-scenes story, read on:
DEAR JERRY: The Junction's Shady Rest depicts a real inn, the Shane Hotel, hidden deep in the Ozark Mountains since 1905. The Shane was run by a single family.
In the summer, the local kids really did swim in the tank that provided water for the locomotive, not totally unlike the three girls (Bobbie Jo; Betty Jo; Billie Jo) cooling in the tank during the show's opening moments.
The Shane could only be reached by train, in this case the M&NA (Missouri & Northern Arkansas), and that is true even today. There is no road to the hotel.
Getting on or off at the hotel back in 1905 required one to flag or signal the train, just as seen in “Petticoat Junction.” In the series, rather than the M&NA line, the name is changed to the fictitious CF&W, also known as the Hooterville Cannonball.
The town Hooterville is really Leslie, and Pixley is nearby Shirley, two real towns in northern Arkansas.
Come to Leslie (on Hwy 65) and see how closely the area matches “Pettitcoat Junction,” including Drucker's store. In Leslie, this store is named Dericksons.
Everyone in the area is excited about getting the Shane Hotel registered as a landmark, then opening up its real history. Visitors can't believe the size of it and where it is built. Even by modern standards, it is quite a feat, more so in 1905 with no roads in the Ozarks. Only the historic Cannonball Express could make the journey.
The Arkansas Ozarks peaked in the 1920s, and the train brought life to hidden sections of the Ozarks. Some say the Missouri and Arkansas Ozarks are the same, but not so. The Arkansas Ozarks are 10 times as big and 10 times as rugged.
Granny Clampett is really Granny Henderson, who was born and raised on the Buffalo River in Arkansas. She actually met Paul Henning near there when Paul was camping in the Ozarks.
Many names and events from “The Beverly Hillbillies” are taken from real things very close to the Buffalo River. Among them are Cousin Pearl, who worked in Dogpatch; Granny's friend in Timbo; and the Bodgins from Botkinberg that feuded with Granny.
I am in touch with every historic society in all the towns the enchanted Cannonball ran through.
—John Lorenz, Greenbrier, Ark.
IZ ZAT SO? Character actor Frank Cady is one of only three in the cast to remain with “Petticoat Junction” for its entire seven-year run.
Cady simultaneously appeared as Sam Drucker on “Petticoat Junction”; “Green Acres”; and “The Beverly Hillbillies.” No other actor has done that on three sitcoms at the same time, as the same character.
Jerry Osborne answers as many questions as possible through this column. Write Jerry at Box 255, Port Townsend, WA 98368, e-mail: jpo@olympus.net, or visit his Web site: http://www.jerryosborne.com/. All values quoted in this column are for near-mint condition.
Copyright 2010 Osbourne Enterprises- Reprinted By Permission
FOR THE WEEK OF JANUARY 11, 2010
DEAR JERRY: Years ago you provided some little-known details about the pre-Beverly Hills “Beverly Hillbillies”; facts regarding the theme song as well as the show in general.
Is my memory correct that there were occasional character and plot crossovers between this series and “Petticoat Junction”?
You indicate the Hillbillies theme is performed by Flatt & Scruggs. Is the Junction theme also by them?
Both shows seem to be set in roughly the same rural setting. Is that the case?
Do any of the TV characters represent real people?
—Sherry Buckman, Fond du Lac, Wisc.
For example, in one “Beverly Hillbillies” episode, “Christmas in Hooterville,” aired December 25, 1968, the Clampetts spent Christmas at Petticoat Junction's Shady Rest Hotel.
In 1962, Lester Flatt & Earl Scruggs recorded the “Beverly Hillbillies” TV theme as well as the hit single, “The Ballad of Jed Clampett” (Columbia 42606).
A little over a year later, Flatt & Scruggs waxed their version of “Petticoat Junction” (Columbia 42982), also a sizable hit for them.
However, the version played on the weekly sitcom is by Curt Massey, who co-wrote the song with Paul Henning. Massey also issued it on vinyl (Capitol 5135) in early '64.
As for the untold, scenes-behind-the-scenes story, read on:
In the summer, the local kids really did swim in the tank that provided water for the locomotive, not totally unlike the three girls (Bobbie Jo; Betty Jo; Billie Jo) cooling in the tank during the show's opening moments.
The Shane could only be reached by train, in this case the M&NA (Missouri & Northern Arkansas), and that is true even today. There is no road to the hotel.
Getting on or off at the hotel back in 1905 required one to flag or signal the train, just as seen in “Petticoat Junction.” In the series, rather than the M&NA line, the name is changed to the fictitious CF&W, also known as the Hooterville Cannonball.
The town Hooterville is really Leslie, and Pixley is nearby Shirley, two real towns in northern Arkansas.
Come to Leslie (on Hwy 65) and see how closely the area matches “Pettitcoat Junction,” including Drucker's store. In Leslie, this store is named Dericksons.
Everyone in the area is excited about getting the Shane Hotel registered as a landmark, then opening up its real history. Visitors can't believe the size of it and where it is built. Even by modern standards, it is quite a feat, more so in 1905 with no roads in the Ozarks. Only the historic Cannonball Express could make the journey.
The Arkansas Ozarks peaked in the 1920s, and the train brought life to hidden sections of the Ozarks. Some say the Missouri and Arkansas Ozarks are the same, but not so. The Arkansas Ozarks are 10 times as big and 10 times as rugged.
Granny Clampett is really Granny Henderson, who was born and raised on the Buffalo River in Arkansas. She actually met Paul Henning near there when Paul was camping in the Ozarks.
Many names and events from “The Beverly Hillbillies” are taken from real things very close to the Buffalo River. Among them are Cousin Pearl, who worked in Dogpatch; Granny's friend in Timbo; and the Bodgins from Botkinberg that feuded with Granny.
I am in touch with every historic society in all the towns the enchanted Cannonball ran through.
—John Lorenz, Greenbrier, Ark.
IZ ZAT SO? Character actor Frank Cady is one of only three in the cast to remain with “Petticoat Junction” for its entire seven-year run.
Cady simultaneously appeared as Sam Drucker on “Petticoat Junction”; “Green Acres”; and “The Beverly Hillbillies.” No other actor has done that on three sitcoms at the same time, as the same character.
Copyright 2010 Osbourne Enterprises- Reprinted By Permission
Music News & Notes
The Decade of Disturbed Begins!
BURBANK, Calif. - (Business Wire) The countdown to the Decade of Disturbed has begun at www.disturbed1.com!
In March 2010, the band will celebrate the 10-year anniversary of the release of their quadruple-platinum-selling debut album The Sickness by reissuing it with exclusive b-sides and expanded artwork, as well as a first-time-ever vinyl edition. Also in March, Disturbed will relaunch their official website with a special section, accessible by a code included with The Sickness reissue, that will contain exclusive clips, updated weekly, of the band recording their upcoming new album, due for release from Reprise Records later this year. There will also be a special DOD section that will be available for everyone.
Released on March 7, 2000, The Sickness is Disturbed’s best-selling album to date, thanks to such hit singles as “Stupify,” “Voices,” and “Down With the Sickness,” which is the seventh most downloaded track of the ’90s according to Nielsen SoundScan.
Formed in Chicago in 1996, Disturbed have sold 11 million albums and six million digital tracks worldwide, and have scored eight No. 1 singles at Active Rock radio over the course of their career. Their latest album, the platinum self-produced Indestructible, debuted at Number One on Billboard’s Top 200 album chart in June 2008 and remained in the Top 10 for five weeks. Indestructible is the band’s third consecutive Number One album, following their platinum-sellers Believe (2002) and Ten Thousand Fists (2005), making Disturbed one of only six rock bands in history to score three consecutive Number One debuts with studio albums.
Disturbed is singer David Draiman, guitarist Dan Donegan, drummer Mike Wengren, and bassist John Moyer. For more on the band, including news about the “Decade of Disturbed,” please visit www.disturbed1.com.
========================
Roky Erickson to Release New Album with Okkervil River
Roky Erickson may not be a household name anymore, but his band ,the 13th Floor Elevators, are frequently cited as pioneers of the psychedelic rock movement. Since the group's breakup in 1969, however, Erickson has faced a variety of personal setbacks: he was diagnosed with schizophrenia and did time in a hospital for the criminally insane after being charged with marijuana possession.
On April 20, Erickson is set to return with True Love Cast Out All Evil, his first new album in 14 years. The collection, which will be released via Anti-, was produced by Will Sheff, whose group Okkervil River acted as Erickson's backing band on the disc. The band previously backed Erickson for his 2008 and 2009 appearances at SXSW.
The songs featured on the album were chosen by Sheff, who was given demos of 60 unreleased tracks from throughout Erickson's life. The songs that made the cut were written at various times over the past 40 years, including some that were penned during Erickson's time in the asylum.
In a statement, Sheff explained, "There were songs written during business setbacks, including the Elevators’ painful breakup, songs written by Roky while he was incarcerated at Rusk, and a great deal of songs that reminded me of the sense of optimism and romanticism that I think sustained Roky through his worst years."
========================
The Beatles’ Yellow Submarine Remake Gets Its Cast
Famed director Robert Zemeckis (The Polar Express, Beowulf) has been striving to lend his creative twist to the Beatles' legendary 1968 feature film, Yellow Submarine. Well, now he can, he has his cast.
British actors Cary Elwes, Dean Lennox Kelly, Peter Serafinowicz and Adam Campbell are at the front of the line for portraying the Fab Four, Billboard reports. So who is playing who? Elwes will reportedly portray George Harrison, Kelly will play John Lennon, Serafinowicz has Paul McCartney and Campbell will take on Ringo Starr. Also lending a hand in the Disney film is popular tribute band Fab 4, who will portray the performances of John, Paul, George and Ringo while the music itself will remain genuine Beatles.
Like its predecessor, the flick will remain animated, but in keeping with current practice, this time around it will be computer-animated. As with his latest film, A Christmas Carol, Zemeckis will shoot live actors and then transform them into computer-generated visions, otherwise known as 3D performance-capture technology.
No confirmation has been made on whether or not surviving Beatles McCartney and Starr will have some hand in the remake, though previous reports indicated that Zemeckis is courting both for the project.
Disney aspires to release the film in time for the 2012 Summer Olympics in London.
========================
CULT OF LUNA albums slated for vinyl release
CULT OF LUNA are set to have their first two albums released on vinyl LP for the first time ever.
Earache Records will be releasing Cult Of Luna's self-titled debut album and its follow-up, The Beyond, on January 25th on limited edition, double gatefold, coloured vinyl LP, marking the first time these album have ever been pressed on vinyl. The release is part of Earache's "First Time on Vinyl" campaign, plugging the gaps in the Earache catalogue previously unavailable on vinyl.
Cult Of Luna and The Beyond have been specially remastered for this release by producer Pelle Henricsson (Refused, Hell Is For Heroes) and include exclusive new artwork by Cult Of Luna guitarist Erik Olofsson. The debut, Cult Of Luna, includes three songs enhanced and extended specifically for this vinyl edition.
View the exclusive album art and vinyl colours here.
http://earacherecords.com/myspace/col_firsttimeonvinyl.jpg
Cult Of Luna guitarist Erik Olofsson comments: "We chose to re-design the sleeves in a refined Cult Of Luna aesthetic, still honoring the original pieces which are very important for us as well."
========================
IfIHadAHiFi to Return favor, Name EP After Nada Surf
Milwaukee Noise-Rock Band Returns Favor, Names New EP After Nada Surf
MILWAUKEE, WI – Wisconsin noise-rock ensemble IfIHadAHiFi, flattered by the recent decision by New York alternative band Nada Surf to reference them in the name of their upcoming covers album If I Had A Hi-Fi, have announced that they are working on an upcoming EP of new original material that they will title Nada Surf in return, continuing a proud tradition of mutual collaboration started by groups like U2, Negativland, REM and Green.
“When we found out that Nada Surf were naming their new record after us, we were really flattered and honored,” says HiFi drummer DrAwkward. “We honestly didn’t realize they were such big fans.”
“We were disappointed when they declined to name their 2003 release, Let Go, after us,” added bassist MrAlarm. “A friend had forwarded us an email from their mailing list that explained that they had decided against it because there was ‘a band from the Midwest who had the same idea for their name.’ Apparently over the years they became big fans of ours and decided to do it anyway. And hey, good for them! If there’s an established brand that screams ‘unit movers,’ it’s IfIHadAHiFi.”
In return, IfIHadAHiFi have announced that their new EP, which the band began tracking in December with local musician/engineer Thom Geibel (White Wrench Conservatory, Quinn Scharber and the…), will be titled Nada Surf. “I mean, it’s the least we can do to show our appreciation for the free exposure,” says guitarist Yale Delay. “The music scene’s all about community, you know? If Nada Surf is willing to plug us to their fans, the least we can do is let our fans know that there’s this great band out there called Nada Surf that they should check out.”
However, while the Nada Surf album seems to be built conceptually around the Milwaukee noise-rock group, keyboardist/guitarist/bassist Rev. Ever explains that the favor can’t be returned to quite that extent. “Judging from their tracklist, it looks like a smorgasbord of our influences. I mean, Kate Bush? The Moody Blues? Hell, Depeche Mode are the reason I picked up a guitar. Which I know is weird, since they’re mostly a keyboard band, but whatever. Unfortunately, it’s too late for us to change our tracklist, so none of our songs have anything to do with Nada Surf at all. Sorry guys!”
IfIHadAHiFi are shooting for a summer/fall 2010 release for the Nada Surf EP, to be released on vinyl and flash drive formats on Latest Flame Records, the home of their 2008 release Fame By Proxy (still lots of copies left! For the love of God, please buy one. Our label dude’s been questioning his judgment).
ABOUT IFIHADAHIFI
Self-described “bitter, pissy assholes who play loud, unlistenable cacophony with a dance beat,” IfIHadAHiFi formed in Wisconsin’s Fox Valley in 2000, relocating to Milwaukee in 2002 in order to “make it in the big city.” In a review for their 2001 release Ones and Zeroes, Pitchfork stated “they could stand to be an important band. Or at least a lot of fun.” (The author of the review has not been spotted on the website since.) One of Alternative Press’ “100 bands you need to hear in 2005,” The HiFi have shared the stage with such notables as Melt-Banana, Rocket From the Tombs, NoMeansNo, Poster Children, and most recently opened the Milwaukee show on the Jesus Lizard’s 2009 reunion tour. Women want to know them, and men want to know their secrets.
========================
Little Boots Set to Release Much-Anticipated Full-Length Album
British dance-pop sensation Little Boots will release her much-anticipated full-length album debut, "HANDS" in the U.S. and Canada March 2nd, 2010 on Elektra Records. "HANDS," which was released in June '09 in the UK, features the hit songs "Stuck on Repeat," "New In Town" and current single, "Remedy," which the NY Post recently praised as a "synth-pop gem" and named one of their "Top 209 songs of 2009." Beginning today, "HANDS" will be available for preorder as CD and limited edition vinyl at: http://store.elektra.com/collections/little-boots-us-webstore
Little Boots -- known to her family and friends as Victoria Hesketh -- is without question the most talked-about new UK pop star of 2009. She was named one of NME's Best New Artists of the year, won a BRITs Critic's Choice Award and BBC's distinguished "Sound of 2009" poll and is the first artist to have appeared on the Jools Holland show TWICE before an album release. Here in the U.S., Rolling Stone named Little Boots as one of their prestigious "Artists to Watch" and Nylon Magazine hailed, "Synth sensation Victoria Hesketh a.k.a. Little Boots is poised to reinvent pop one small dance step at a time."
The Blackpool-born performer first captured attention as a member of electro-indie combo Dead Disco. Opting to pursue a solo career as Little Boots, she assembled an arsenal of synths and began airing her developing work on YouTube for all to see. Earlier this year Little Boots' U.S.-only "ILLUMINATIONS" EP was released and served as an ideal introduction to her acclaimed brand of futuristic electro-pop. The five-track EP featured rare and exclusive tracks including the irrepressible anthem, "Stuck on Repeat" which started it all.
========================
Simon & Garfunkel Confirm Sole 2010 U.S. Gig at New Orleans Jazz Festival
Rolling Stone is reporting that Simon & Garfunkel have been added to the first weekend of this year’s New Orleans Jazz & Heritage Festival, marking the lone U.S. performance the legendary duo will make in 2010. The pair will perform on Saturday, April 24th, the second day of the festival, which runs until May 2nd.
“Over the years I’ve always enjoyed performing at Jazz Fest,” Paul Simon said in a statement. “Everyone connected with the Festival, and in particular Quint Davis [director of Jazz Fest], has created an atmosphere that is both musical and enjoyable. I am looking forward to the opportunity to perform with my old friend Art Garfunkel at this year’s Festival.”
BURBANK, Calif. - (Business Wire) The countdown to the Decade of Disturbed has begun at www.disturbed1.com!
In March 2010, the band will celebrate the 10-year anniversary of the release of their quadruple-platinum-selling debut album The Sickness by reissuing it with exclusive b-sides and expanded artwork, as well as a first-time-ever vinyl edition. Also in March, Disturbed will relaunch their official website with a special section, accessible by a code included with The Sickness reissue, that will contain exclusive clips, updated weekly, of the band recording their upcoming new album, due for release from Reprise Records later this year. There will also be a special DOD section that will be available for everyone.
Released on March 7, 2000, The Sickness is Disturbed’s best-selling album to date, thanks to such hit singles as “Stupify,” “Voices,” and “Down With the Sickness,” which is the seventh most downloaded track of the ’90s according to Nielsen SoundScan.
Formed in Chicago in 1996, Disturbed have sold 11 million albums and six million digital tracks worldwide, and have scored eight No. 1 singles at Active Rock radio over the course of their career. Their latest album, the platinum self-produced Indestructible, debuted at Number One on Billboard’s Top 200 album chart in June 2008 and remained in the Top 10 for five weeks. Indestructible is the band’s third consecutive Number One album, following their platinum-sellers Believe (2002) and Ten Thousand Fists (2005), making Disturbed one of only six rock bands in history to score three consecutive Number One debuts with studio albums.
Disturbed is singer David Draiman, guitarist Dan Donegan, drummer Mike Wengren, and bassist John Moyer. For more on the band, including news about the “Decade of Disturbed,” please visit www.disturbed1.com.
========================
Roky Erickson to Release New Album with Okkervil River
Roky Erickson may not be a household name anymore, but his band ,the 13th Floor Elevators, are frequently cited as pioneers of the psychedelic rock movement. Since the group's breakup in 1969, however, Erickson has faced a variety of personal setbacks: he was diagnosed with schizophrenia and did time in a hospital for the criminally insane after being charged with marijuana possession.
On April 20, Erickson is set to return with True Love Cast Out All Evil, his first new album in 14 years. The collection, which will be released via Anti-, was produced by Will Sheff, whose group Okkervil River acted as Erickson's backing band on the disc. The band previously backed Erickson for his 2008 and 2009 appearances at SXSW.
The songs featured on the album were chosen by Sheff, who was given demos of 60 unreleased tracks from throughout Erickson's life. The songs that made the cut were written at various times over the past 40 years, including some that were penned during Erickson's time in the asylum.
In a statement, Sheff explained, "There were songs written during business setbacks, including the Elevators’ painful breakup, songs written by Roky while he was incarcerated at Rusk, and a great deal of songs that reminded me of the sense of optimism and romanticism that I think sustained Roky through his worst years."
========================
The Beatles’ Yellow Submarine Remake Gets Its Cast
Famed director Robert Zemeckis (The Polar Express, Beowulf) has been striving to lend his creative twist to the Beatles' legendary 1968 feature film, Yellow Submarine. Well, now he can, he has his cast.
British actors Cary Elwes, Dean Lennox Kelly, Peter Serafinowicz and Adam Campbell are at the front of the line for portraying the Fab Four, Billboard reports. So who is playing who? Elwes will reportedly portray George Harrison, Kelly will play John Lennon, Serafinowicz has Paul McCartney and Campbell will take on Ringo Starr. Also lending a hand in the Disney film is popular tribute band Fab 4, who will portray the performances of John, Paul, George and Ringo while the music itself will remain genuine Beatles.
Like its predecessor, the flick will remain animated, but in keeping with current practice, this time around it will be computer-animated. As with his latest film, A Christmas Carol, Zemeckis will shoot live actors and then transform them into computer-generated visions, otherwise known as 3D performance-capture technology.
No confirmation has been made on whether or not surviving Beatles McCartney and Starr will have some hand in the remake, though previous reports indicated that Zemeckis is courting both for the project.
Disney aspires to release the film in time for the 2012 Summer Olympics in London.
========================
CULT OF LUNA albums slated for vinyl release
CULT OF LUNA are set to have their first two albums released on vinyl LP for the first time ever.
Earache Records will be releasing Cult Of Luna's self-titled debut album and its follow-up, The Beyond, on January 25th on limited edition, double gatefold, coloured vinyl LP, marking the first time these album have ever been pressed on vinyl. The release is part of Earache's "First Time on Vinyl" campaign, plugging the gaps in the Earache catalogue previously unavailable on vinyl.
Cult Of Luna and The Beyond have been specially remastered for this release by producer Pelle Henricsson (Refused, Hell Is For Heroes) and include exclusive new artwork by Cult Of Luna guitarist Erik Olofsson. The debut, Cult Of Luna, includes three songs enhanced and extended specifically for this vinyl edition.
View the exclusive album art and vinyl colours here.
http://earacherecords.com/myspace/col_firsttimeonvinyl.jpg
Cult Of Luna guitarist Erik Olofsson comments: "We chose to re-design the sleeves in a refined Cult Of Luna aesthetic, still honoring the original pieces which are very important for us as well."
========================
IfIHadAHiFi to Return favor, Name EP After Nada Surf
Milwaukee Noise-Rock Band Returns Favor, Names New EP After Nada Surf
MILWAUKEE, WI – Wisconsin noise-rock ensemble IfIHadAHiFi, flattered by the recent decision by New York alternative band Nada Surf to reference them in the name of their upcoming covers album If I Had A Hi-Fi, have announced that they are working on an upcoming EP of new original material that they will title Nada Surf in return, continuing a proud tradition of mutual collaboration started by groups like U2, Negativland, REM and Green.
“When we found out that Nada Surf were naming their new record after us, we were really flattered and honored,” says HiFi drummer DrAwkward. “We honestly didn’t realize they were such big fans.”
“We were disappointed when they declined to name their 2003 release, Let Go, after us,” added bassist MrAlarm. “A friend had forwarded us an email from their mailing list that explained that they had decided against it because there was ‘a band from the Midwest who had the same idea for their name.’ Apparently over the years they became big fans of ours and decided to do it anyway. And hey, good for them! If there’s an established brand that screams ‘unit movers,’ it’s IfIHadAHiFi.”
In return, IfIHadAHiFi have announced that their new EP, which the band began tracking in December with local musician/engineer Thom Geibel (White Wrench Conservatory, Quinn Scharber and the…), will be titled Nada Surf. “I mean, it’s the least we can do to show our appreciation for the free exposure,” says guitarist Yale Delay. “The music scene’s all about community, you know? If Nada Surf is willing to plug us to their fans, the least we can do is let our fans know that there’s this great band out there called Nada Surf that they should check out.”
However, while the Nada Surf album seems to be built conceptually around the Milwaukee noise-rock group, keyboardist/guitarist/bassist Rev. Ever explains that the favor can’t be returned to quite that extent. “Judging from their tracklist, it looks like a smorgasbord of our influences. I mean, Kate Bush? The Moody Blues? Hell, Depeche Mode are the reason I picked up a guitar. Which I know is weird, since they’re mostly a keyboard band, but whatever. Unfortunately, it’s too late for us to change our tracklist, so none of our songs have anything to do with Nada Surf at all. Sorry guys!”
IfIHadAHiFi are shooting for a summer/fall 2010 release for the Nada Surf EP, to be released on vinyl and flash drive formats on Latest Flame Records, the home of their 2008 release Fame By Proxy (still lots of copies left! For the love of God, please buy one. Our label dude’s been questioning his judgment).
ABOUT IFIHADAHIFI
Self-described “bitter, pissy assholes who play loud, unlistenable cacophony with a dance beat,” IfIHadAHiFi formed in Wisconsin’s Fox Valley in 2000, relocating to Milwaukee in 2002 in order to “make it in the big city.” In a review for their 2001 release Ones and Zeroes, Pitchfork stated “they could stand to be an important band. Or at least a lot of fun.” (The author of the review has not been spotted on the website since.) One of Alternative Press’ “100 bands you need to hear in 2005,” The HiFi have shared the stage with such notables as Melt-Banana, Rocket From the Tombs, NoMeansNo, Poster Children, and most recently opened the Milwaukee show on the Jesus Lizard’s 2009 reunion tour. Women want to know them, and men want to know their secrets.
========================
Little Boots Set to Release Much-Anticipated Full-Length Album
British dance-pop sensation Little Boots will release her much-anticipated full-length album debut, "HANDS" in the U.S. and Canada March 2nd, 2010 on Elektra Records. "HANDS," which was released in June '09 in the UK, features the hit songs "Stuck on Repeat," "New In Town" and current single, "Remedy," which the NY Post recently praised as a "synth-pop gem" and named one of their "Top 209 songs of 2009." Beginning today, "HANDS" will be available for preorder as CD and limited edition vinyl at: http://store.elektra.com/collections/little-boots-us-webstore
Little Boots -- known to her family and friends as Victoria Hesketh -- is without question the most talked-about new UK pop star of 2009. She was named one of NME's Best New Artists of the year, won a BRITs Critic's Choice Award and BBC's distinguished "Sound of 2009" poll and is the first artist to have appeared on the Jools Holland show TWICE before an album release. Here in the U.S., Rolling Stone named Little Boots as one of their prestigious "Artists to Watch" and Nylon Magazine hailed, "Synth sensation Victoria Hesketh a.k.a. Little Boots is poised to reinvent pop one small dance step at a time."
The Blackpool-born performer first captured attention as a member of electro-indie combo Dead Disco. Opting to pursue a solo career as Little Boots, she assembled an arsenal of synths and began airing her developing work on YouTube for all to see. Earlier this year Little Boots' U.S.-only "ILLUMINATIONS" EP was released and served as an ideal introduction to her acclaimed brand of futuristic electro-pop. The five-track EP featured rare and exclusive tracks including the irrepressible anthem, "Stuck on Repeat" which started it all.
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Simon & Garfunkel Confirm Sole 2010 U.S. Gig at New Orleans Jazz Festival
Rolling Stone is reporting that Simon & Garfunkel have been added to the first weekend of this year’s New Orleans Jazz & Heritage Festival, marking the lone U.S. performance the legendary duo will make in 2010. The pair will perform on Saturday, April 24th, the second day of the festival, which runs until May 2nd.
“Over the years I’ve always enjoyed performing at Jazz Fest,” Paul Simon said in a statement. “Everyone connected with the Festival, and in particular Quint Davis [director of Jazz Fest], has created an atmosphere that is both musical and enjoyable. I am looking forward to the opportunity to perform with my old friend Art Garfunkel at this year’s Festival.”
This Date In Music History-January 13
Birthdays:
Robert ‘Squirrel’ Lester - Chi-Lites (1930)
John Lees - Barclay James Harvest (1948)
Trevor Rabin - former Yes guitarist (1954)
Fred White - Earth, Wind and Fire (1955)
Don Snow - Squeeze (1957)
Jim Paris - Carmel (1957)
James Lomenzo - White Lion/Megadeth (1959)
Graham McPherson - Madness (1961)
Tim Kelly - Slaughter (1967)
Zach de la Rocha - Rage Against The Machine (1970)
They Are Missed:
In 1979, soul pop singer Danny Hathaway, known for his duets with Roberta Flack ("Where Is the Love?") died after jumping, (or falling - police couldn't reach a conclusion) from a 15th floor hotel room in New York City. According to his record company, Atlantic, Hathaway had been having some psychological problems and hadn't done much in the way of music lately. He was 34 years old.
The late Bobby Lester of the Moonglows ("Sincerely") was born in 1930.
Grammy Award winning jazz saxophonist, Michael Brecker, died in New York in 2007 after battling leukemia. Over the course of his lengthy career Brecker was heard on albums by Steely Dan, Bruce Springsteen, Eric Clapton, John Lennon and Ringo Starr.
History:
In 1906, the first advertisement for a radio, a Telimco selling for $7.50, appeared in the magazine "Scientific American."
Elvis Presley recorded "All Shook Up" and "That’s When Your Heartaches Begin" in Hollywood in 1957.
Radio station KWK in St. Louis declared Rock n’ Roll dead in 1958. After giving their Rock records a final play, the station staff break them. No word on if they ordered more.....
The Beatles recorded a TV appearance on the ABC Television program 'Thank Your Lucky Stars' in Birmingham in 1963, playing their new single, "Please Please Me." The show was broadcast on January 19.
The Beatles released "I Want To Hold Your Hand" in the US in 1964.
The first day of recording sessions for Bob Dylan’s Bringing It All Back Home album were held at Studio A, Columbia Recording Studios in New York City in 1965.
In 1968, Dr. K.C. Pollack of the University of Florida audio lab reported that tests have found that the noise generated at rock & roll concerts is harmful to teenage ears.
Johnny Cash recorded a live album at Folsom Prison in 1968.
In 1969, Elvis Presley recorded in Memphis for the first time since his early days with Sun records; the session eventually produces his 18th Number One hit single, "Suspicious Minds."
John Lennon and Yoko Ono cut their hair and donated it to a charity auction in 1970.
Carly Simon started a five-week run at #1 on the US album chart in 1973 with 'No Secrets'.
Aerosmith's self-titled debut was released in 1973. It contains the band staples "Dream On" and "Mama Kin."
Eric Clapton has spent the last couple of years troubled by drug addiction. However, on this night in 1973, he makes a triumphant comeback at London's Rainbow Theater. He sells out two shows as the set opens and closes with "Layla." Afterward Clapton told a reporter, "I was very nervous, felt sick, the whole bit." Referring to the audience he responded, "They don't know how much it helped me."
The trial of seven Brunswick Records and Dakar Records employees on charges of bilking artists out of more than $184,000 in royalties began in 1976. The charges had been brought during a federal investigation for possible instances of payola.
In 1978, the Police started recording their first album at Surrey Sound Studios, Surrey, England with producer Nigel Gray.
Also in 1978, Elvis Presley's version of Paul Anka's "My Way" goes gold in five months after the King's death. Earlier, it had become one of Presley's 78 Top Twenty-five hits.
The Y.M.C.A. files a lawsuit in 1979 against the Village People over their song, "Y.M.C.A." The suit was later dropped.
The Grateful Dead, Beach Boys and Jefferson Starship were the featured acts at a benefit concert for the people of Kampuchea, held at the Oakland Coliseum in 1980.
In 1984, BBC Radio 1 announced a ban on "Relax" by Frankie Goes To Hollywood, after DJ Mike Read called it 'obscene', a BBC TV ban also followed. The song went on to become a UK No.1 and spent a total of 48 weeks on the UK chart.
In 1993, singer Bobby Brown was arrested in Augusta, GA for simulating a sex act onstage. It was the second time that the Augusta police department booked him for the same offense.
Christina Aguilera had the US #1 single in 2000 with "What A Girl Wants."
In 2005, a report showed that more songs had been written about Elvis Presley than any other artist. It listed over 220 songs including: "Graceland" by Paul Simon, "A Room At The Heartbreakhotel" by U2, "Calling Elvis," Dire Straits, "Happy Birthday Elvis," Loudon Wainwright III, "There's A Guy Works Down The Chip Shop Swears He's Elvis," Kirsty MacColl, "I Saw Elvis in a UFO," Ray Stevens. "Elvis Has Left the Building" by Frank Zappa and "My Dog Thinks I'm Elvis" by Ray Herndon.
It's announced in 2006 that The Jimi Hendrix Experience's "Axis: Bold as Love" and Bob Dylan's "Bringing It All Back Home" albums will be added to the Grammy Hall of Fame. The inductees represent "the most significant recorded musical masterpieces that have had a profound impact on our culture," says Recording Academy president Neil Portnow.
"Greatest Hits," a Bruce Springsteen and the E Street Band compilation, was released exclusively via Wal-Mart in 2009. After receiving criticism, Springsteen admits the deal was a mistake.
Robert ‘Squirrel’ Lester - Chi-Lites (1930)
John Lees - Barclay James Harvest (1948)
Trevor Rabin - former Yes guitarist (1954)
Fred White - Earth, Wind and Fire (1955)
Don Snow - Squeeze (1957)
Jim Paris - Carmel (1957)
James Lomenzo - White Lion/Megadeth (1959)
Graham McPherson - Madness (1961)
Tim Kelly - Slaughter (1967)
Zach de la Rocha - Rage Against The Machine (1970)
They Are Missed:
In 1979, soul pop singer Danny Hathaway, known for his duets with Roberta Flack ("Where Is the Love?") died after jumping, (or falling - police couldn't reach a conclusion) from a 15th floor hotel room in New York City. According to his record company, Atlantic, Hathaway had been having some psychological problems and hadn't done much in the way of music lately. He was 34 years old.
The late Bobby Lester of the Moonglows ("Sincerely") was born in 1930.
Grammy Award winning jazz saxophonist, Michael Brecker, died in New York in 2007 after battling leukemia. Over the course of his lengthy career Brecker was heard on albums by Steely Dan, Bruce Springsteen, Eric Clapton, John Lennon and Ringo Starr.
History:
In 1906, the first advertisement for a radio, a Telimco selling for $7.50, appeared in the magazine "Scientific American."
Elvis Presley recorded "All Shook Up" and "That’s When Your Heartaches Begin" in Hollywood in 1957.
Radio station KWK in St. Louis declared Rock n’ Roll dead in 1958. After giving their Rock records a final play, the station staff break them. No word on if they ordered more.....
The Beatles recorded a TV appearance on the ABC Television program 'Thank Your Lucky Stars' in Birmingham in 1963, playing their new single, "Please Please Me." The show was broadcast on January 19.
The Beatles released "I Want To Hold Your Hand" in the US in 1964.
The first day of recording sessions for Bob Dylan’s Bringing It All Back Home album were held at Studio A, Columbia Recording Studios in New York City in 1965.
In 1968, Dr. K.C. Pollack of the University of Florida audio lab reported that tests have found that the noise generated at rock & roll concerts is harmful to teenage ears.
Johnny Cash recorded a live album at Folsom Prison in 1968.
In 1969, Elvis Presley recorded in Memphis for the first time since his early days with Sun records; the session eventually produces his 18th Number One hit single, "Suspicious Minds."
John Lennon and Yoko Ono cut their hair and donated it to a charity auction in 1970.
Carly Simon started a five-week run at #1 on the US album chart in 1973 with 'No Secrets'.
Aerosmith's self-titled debut was released in 1973. It contains the band staples "Dream On" and "Mama Kin."
Eric Clapton has spent the last couple of years troubled by drug addiction. However, on this night in 1973, he makes a triumphant comeback at London's Rainbow Theater. He sells out two shows as the set opens and closes with "Layla." Afterward Clapton told a reporter, "I was very nervous, felt sick, the whole bit." Referring to the audience he responded, "They don't know how much it helped me."
The trial of seven Brunswick Records and Dakar Records employees on charges of bilking artists out of more than $184,000 in royalties began in 1976. The charges had been brought during a federal investigation for possible instances of payola.
In 1978, the Police started recording their first album at Surrey Sound Studios, Surrey, England with producer Nigel Gray.
Also in 1978, Elvis Presley's version of Paul Anka's "My Way" goes gold in five months after the King's death. Earlier, it had become one of Presley's 78 Top Twenty-five hits.
The Y.M.C.A. files a lawsuit in 1979 against the Village People over their song, "Y.M.C.A." The suit was later dropped.
The Grateful Dead, Beach Boys and Jefferson Starship were the featured acts at a benefit concert for the people of Kampuchea, held at the Oakland Coliseum in 1980.
In 1984, BBC Radio 1 announced a ban on "Relax" by Frankie Goes To Hollywood, after DJ Mike Read called it 'obscene', a BBC TV ban also followed. The song went on to become a UK No.1 and spent a total of 48 weeks on the UK chart.
In 1993, singer Bobby Brown was arrested in Augusta, GA for simulating a sex act onstage. It was the second time that the Augusta police department booked him for the same offense.
Christina Aguilera had the US #1 single in 2000 with "What A Girl Wants."
In 2005, a report showed that more songs had been written about Elvis Presley than any other artist. It listed over 220 songs including: "Graceland" by Paul Simon, "A Room At The Heartbreakhotel" by U2, "Calling Elvis," Dire Straits, "Happy Birthday Elvis," Loudon Wainwright III, "There's A Guy Works Down The Chip Shop Swears He's Elvis," Kirsty MacColl, "I Saw Elvis in a UFO," Ray Stevens. "Elvis Has Left the Building" by Frank Zappa and "My Dog Thinks I'm Elvis" by Ray Herndon.
It's announced in 2006 that The Jimi Hendrix Experience's "Axis: Bold as Love" and Bob Dylan's "Bringing It All Back Home" albums will be added to the Grammy Hall of Fame. The inductees represent "the most significant recorded musical masterpieces that have had a profound impact on our culture," says Recording Academy president Neil Portnow.
"Greatest Hits," a Bruce Springsteen and the E Street Band compilation, was released exclusively via Wal-Mart in 2009. After receiving criticism, Springsteen admits the deal was a mistake.
Tuesday, January 12, 2010
New Music Releases - January 12, 2010
Buy Vinyl Here: CollectingVinyl
Adam Green - Minor Love (vinyl)
Alexisonfire - Old Crows/Young Cardinals (vinyl)
Alice Cooper - Welcome to My Nightmare
All Time Low - MTV Unplugged (with DVD)
Astroid Galaxy Tour - Fruit (vinyl)
Ben Kweller - Sawdust Man & Send Me Down The Road (vinyl)
Blockhead - Music Scene (vinyl)
Bo Diddley - Have Guitar Will Tour (2 CDs)
Bouncing Souls - Ghosts on the Boardwalk
Buraka Som Sistema - Sound of Kuduro (vinyl)
Capgun Coup - Maudlin (vinyl)
Charley Patton - Electrically Recorded: Moon Going Down (vinyl reissue)
Colin Hay - Company of Strangers (Remastered)
Cute Lepers - Smart Accessories (vinyl)
Dollyrots - California Beach Boy (vinyl)
Don Williams - The Gentle Giant
Doom - Gazzillion Ear EP (vinyl)
Ellis Paul - The Day After Everything Changed
Elvis Costello - The Costello Show 2: Live At Hollywood High (reissue with bonus tracks)
Elvis Costello - The Costello Show: Live At Hollywood High (reissue with bonus tracks)
Etienne Jaumet – Night Music LP
Exile - Kiss You All Over
Fats Domino - The Fat Man
Final Fantasy - Heartland (vinyl)
Freedy Johnston - Rain on the City
Geoff Muldaur & the Texas Sheiks - Texas Sheiks
Guess Who - Rockin'
Guess Who - So Long, Bannatyne
Isaac Hayes - Isaac Hayes Movement
Isaac Hayes - Truck Turner
James Brown - Godfather of Soul
Jason Boesel - Hustler's Son
Johnny Paycheck - Hero of the Working Man
Johnny Winter - Live Bootleg Series Volume 6
Jukebox the Ghost - Let Live and Let Ghosts (vinyl reissue)
King Crimson - Lizard (Deluxe Edition) (2 CDs)
Kria Brekkan - Uterus Water (vinyl)
Laarks - An Exaltation of Laarks (vinyl)
Lady Gaga - Bad Romance - The Remixes
Laura Veirs - July Flames (vinyl)
Laura Veirs - The Triumphs And Travails Of Orphan Mae
Lynn Anderson - Country Rose
Magda - Fabric 49
Manu Chao - Baionarena (deluxe 2-CD & DVD edition)
Marvin Gaye - Soul Immortal
Mickey Gilley - Urban Cowboy
Nana Grizol - Ruth (vinyl)
Nick Cave & Warren Ellis - The Road (soundtrack)
Norah Jones - Chasing Pirates Remix EP (vinyl)
O.A.R. (Of A Revolution) - Rain Or Shine
OK Go - Of The Blue Colour Of The Sky
Omarion - Ollusion
Owen Pallett - Heartland
Paul Weller & Keb Darge - Lost & Found: Real R&B & Soul
Percy Sledge - My Old Friend the Blues
Phil Ochs - I Ain't Marching Anymore
Polysics - Absolute Polysics
Ray Wylie Hubbard - A: Enlightenment B: Endarkenment (Hint: There Is No C)
Red Sparowes - Aphorisms (vinyl)
Ringo Starr - Y Not
Rolling Stones - Out of Our Head
Rolling Stones - Rolling Stones
Rural Alberta Advantage - Drain the Blood (vinyl)
Russian Circles - Enter (vinyl)
Russian Circles - Geneva (vinyl)
Sarah Elizabeth Foster - Gardening From The Ground Up Part 1
Seabird - Rocks Into Rivers
Sidewalk Prophets - These Simple Truths
Spoon - Written in Reverse (vinyl)
T.Rex - Spaceball: The American Radio Sessions
Teddy Pendergrass - Soul Superstar
Tower of Power - Bump City
Uncle Tupelo - Anodyne (vinyl reissue)
Vampire Weekend - Contra (vinyl)
Van Morrison - T.B. Sheets (Remastered)
Various Artists - An American Artist's Tale
Various Artists - Dengue Fever Presents: Electric Cambodia (vinyl)
Various Artists - I'll Be There: Smooth Jazz Trib to Michael Jackson
Various Artists - Unpiecing the Jigsaw: Velvet Underground (4-CD box set)
Various Artists - We Are the World: Instrumental to Michael Jackson
Vibrators - Under the Radar
Waylon Jennings - Super Hits, Volume 2
Waylon Jennings - Waylon / Singer of Sad Songs
Ween - The Pod (reissue)
Buy Vinyl Here: http://www.insound.com/
Adam Green - Minor Love (vinyl)
Alexisonfire - Old Crows/Young Cardinals (vinyl)
Alice Cooper - Welcome to My Nightmare
All Time Low - MTV Unplugged (with DVD)
Astroid Galaxy Tour - Fruit (vinyl)
Ben Kweller - Sawdust Man & Send Me Down The Road (vinyl)
Blockhead - Music Scene (vinyl)
Bo Diddley - Have Guitar Will Tour (2 CDs)
Bouncing Souls - Ghosts on the Boardwalk
Buraka Som Sistema - Sound of Kuduro (vinyl)
Capgun Coup - Maudlin (vinyl)
Charley Patton - Electrically Recorded: Moon Going Down (vinyl reissue)
Colin Hay - Company of Strangers (Remastered)
Cute Lepers - Smart Accessories (vinyl)
Dollyrots - California Beach Boy (vinyl)
Don Williams - The Gentle Giant
Doom - Gazzillion Ear EP (vinyl)
Ellis Paul - The Day After Everything Changed
Elvis Costello - The Costello Show 2: Live At Hollywood High (reissue with bonus tracks)
Elvis Costello - The Costello Show: Live At Hollywood High (reissue with bonus tracks)
Etienne Jaumet – Night Music LP
Exile - Kiss You All Over
Fats Domino - The Fat Man
Final Fantasy - Heartland (vinyl)
Freedy Johnston - Rain on the City
Geoff Muldaur & the Texas Sheiks - Texas Sheiks
Guess Who - Rockin'
Guess Who - So Long, Bannatyne
Isaac Hayes - Isaac Hayes Movement
Isaac Hayes - Truck Turner
James Brown - Godfather of Soul
Jason Boesel - Hustler's Son
Johnny Paycheck - Hero of the Working Man
Johnny Winter - Live Bootleg Series Volume 6
Jukebox the Ghost - Let Live and Let Ghosts (vinyl reissue)
King Crimson - Lizard (Deluxe Edition) (2 CDs)
Kria Brekkan - Uterus Water (vinyl)
Laarks - An Exaltation of Laarks (vinyl)
Lady Gaga - Bad Romance - The Remixes
Laura Veirs - July Flames (vinyl)
Laura Veirs - The Triumphs And Travails Of Orphan Mae
Lynn Anderson - Country Rose
Magda - Fabric 49
Manu Chao - Baionarena (deluxe 2-CD & DVD edition)
Marvin Gaye - Soul Immortal
Mickey Gilley - Urban Cowboy
Nana Grizol - Ruth (vinyl)
Nick Cave & Warren Ellis - The Road (soundtrack)
Norah Jones - Chasing Pirates Remix EP (vinyl)
O.A.R. (Of A Revolution) - Rain Or Shine
OK Go - Of The Blue Colour Of The Sky
Omarion - Ollusion
Owen Pallett - Heartland
Paul Weller & Keb Darge - Lost & Found: Real R&B & Soul
Percy Sledge - My Old Friend the Blues
Phil Ochs - I Ain't Marching Anymore
Polysics - Absolute Polysics
Ray Wylie Hubbard - A: Enlightenment B: Endarkenment (Hint: There Is No C)
Red Sparowes - Aphorisms (vinyl)
Ringo Starr - Y Not
Rolling Stones - Out of Our Head
Rolling Stones - Rolling Stones
Rural Alberta Advantage - Drain the Blood (vinyl)
Russian Circles - Enter (vinyl)
Russian Circles - Geneva (vinyl)
Sarah Elizabeth Foster - Gardening From The Ground Up Part 1
Seabird - Rocks Into Rivers
Sidewalk Prophets - These Simple Truths
Spoon - Written in Reverse (vinyl)
T.Rex - Spaceball: The American Radio Sessions
Teddy Pendergrass - Soul Superstar
Tower of Power - Bump City
Uncle Tupelo - Anodyne (vinyl reissue)
Vampire Weekend - Contra (vinyl)
Van Morrison - T.B. Sheets (Remastered)
Various Artists - An American Artist's Tale
Various Artists - Dengue Fever Presents: Electric Cambodia (vinyl)
Various Artists - I'll Be There: Smooth Jazz Trib to Michael Jackson
Various Artists - Unpiecing the Jigsaw: Velvet Underground (4-CD box set)
Various Artists - We Are the World: Instrumental to Michael Jackson
Vibrators - Under the Radar
Waylon Jennings - Super Hits, Volume 2
Waylon Jennings - Waylon / Singer of Sad Songs
Ween - The Pod (reissue)
Buy Vinyl Here: http://www.insound.com/
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