Whats on your turntable tonight?


For me its the first or very early LP's of:
Allman Brothers - "Allman Joys" "Idyllwild South"
Santana - "Santana" 200 g reissue
Emerson Lake and Palmer - "Emerson Lake and Palmer"
and,
Beethoven - "Piano Concerto No. 4 in G Major" Rudolph Serkin/Ozawa/BSO
slipknot1

Showing 50 responses by spiritofradio

Bach
The Goldberg Variations (1982)
Glen Gould

"It is, in short, music which observes neither end nor beginning, music with neither real climax nor real resolution, music which, like Baudelaire’s lovers, 'rests lightly on the wings of the unchecked wind.' It has, then, unity through intuitive perception, unity born of craft and scrutiny, mellowed by mastery achieved, and revealed to us here, as so rarely in art, in the vision of subconscious design exulting upon a pinnacle of potency."

- Glen Gould, from the liner notes on his 1955 debut Version of the same
Nima Ben David
Résonance

This is a wonderful and beautiful sounding recording of ancient music played on solo Viola da Gamba, by one of that rare instrument’s few true virtuosos.  
Was kind of a splurge for me.  
MA Recordings M088A-V
You won’t find it on your streamer.  

Jethro Tull
Living in the Past

(cassette)

Playing with old gear while straightening out the basement.  Mostly playing with the old gear.   
Zoe Muth and the lost highrollers
Eponymous (on the streamer)

another nominee for Best Needs To Be Pressed
@tomic601 

do you mean the one Neil Young did called Deja vu?  Or is there something more recent?

a documentary I really enjoyed awhile back:

https://m.imdb.com /title/tt2492916/


Uber,

SON one of my favorites.  First album with Sanchez in the group.  ‘On Her Way’ might be the most purely uplifting music I’ve ever heard. 
Re: Alan Douglas Rubenstein

Douglas first crossed paths with Hendrix shortly after the latter’s performance at Woodstock in 1969,[2] and it was supposedly through Douglas that Hendrix met and began jamming with jazz musicians, including Miles Davis, Quincy Jones, and Gil Evans, as well as rap trailblazers the Last Poets.[3] In the book Ultimate Hendrix: An Illustrated Encyclopedia of Live Concerts and Sessions, Buddy Miles credits Douglas with helping put together the Band of Gypsys band, as he was quoted as saying, "The Band of Gypsys were put together in Douglas’s office, between Alan and [concert promoter] Bill Graham, who gave us the dates at the Fillmore East." [4] However, in the book Hendrix: Setting the Record Straight, former Hendrix producer Chas Chandler is quoted as saying, "Hendrix said to me – and I remember the sentence . . . ’He [Douglas] can help [in business matters] . . . but I don’t want that guy to have anything to do with my music’."[5] Douglas would attend Hendrix’s funeral in 1970,[6] and four years after Hendrix’s death, Douglas acquired the rights to produce music that Hendrix had never released.[7]

Douglas’s production work on a few of Hendrix’s posthumous releases is controversial. This is primarily due to tracks on the Crash Landing and Midnight LightningLP releases in 1975. On these releases Douglas replaced the original drum and bass tracks and added guitar overdubs newly recorded by session musicians. He added female backing singers to one track, and claimed co-composer credit on several tracks that he had altered. On the much later Voodoo Soup compilation album Douglas is known to have wiped original drum tracks on two songs and replaced them with The Knack’s Bruce Gary. Second, on the 1993 CD releases of Hendrix’s three studio albums, the original album artwork and packaging were scrapped in favour of new renderings of the Jimi Hendrix Experience.

Douglas’s work on Hendrix releases was defended by rock journalist and critic John Masouri, who in 2001 called him "one of the last great musical visionaries", and said he had been right to try to improve the original tracks: "wisely he’d also edited out passages where Jimi had toyed with a riff repeatedly, searching for just the right phrase... All things considered, it’s highly unlikely that Hendrix would have sanctioned the release of poorly executed material, yet the die was cast, and the producer has been branded a controversial figure ever since."[8]Supposedly, Jimi Hendrix Experience drummer Mitch Mitchell also approved of Douglas’s decision to utilize sessions musicians on Hendrix releases, because "some of the original playing had been sub-standard."[9]

However, in interviews[citation needed], guitarist John McLaughlin has criticized Douglas’s handling of his own LP Devotion(1970), as well, closely related to Hendrix’s Band of Gypsys sessions. But Umar Bin Hassan, a member of the Last Poets, said following Douglas’s death that "whether you liked him or didn’t, you had to admit that he was one of the giants in what he did, which was to put out responsible, intelligent and remarkable music."[8] Douglas was credited with being the first record producer to record a rap album.

In 1995 Douglas lost control of the Hendrix archive to Hendrix’s father, Al. After years of legal wrangling, Douglas was able to obtain the right to compile Hendrix’s writings into a book, Starting At Zero, which was published in late 2013. He was also planning a documentary film of the same title which remained unreleased at the time of his death.[8]


You can draw your own conclusions from the above.
Re: Douglas Records & Richie Havens:


  • Review by Richie Unterberger

    This was one of two albums (the other being The Richie Havens Record) comprised of overdubbed solo demos, probably from sometime between 1963-1965, that Havens had done prior to recording for Verve and making his official recording debut. In the late ’60s, as Havens rose to stardom, producer Alan Douglas took the original solo demos and overdubbed them with electric instruments. The albums were pulled from circulation and are today hard to find. One would understand why Havensmight have disapproved of their release, but The Richie Havens Record, like its companion Electric Havens, really isn’t bad. The result of the late-date overdub created the misleading impression of an artist caught between the transition from folk to rock music, sometimes awkwardly so, as if he or the producers couldn’t decide whether to be one or the other. There’s some organ, backup vocals, and light drumming on some of the songs. But essentially this is an album that probably reflects his live sets in folk clubs, mixing covers of folk tunes ("I’m on My Way," "Babe, I’m Leavin"), blues ("Daddy Roll ’Em"), soul ("Drown in My Own Tears"), and material by then contemporary singer/songwriters (Fred Neil’s "The Bag I’m In"). It convincingly establishes Havens as a talented singer and interpreter, making songs his own with his gritty soul-folk voice and urgent guitar strums, and also conveys the ecumenicism of his repertoire. There’s a low-budget feel to the production and arrangements, though, not to mention the packaging: no songwriter credits are given, and the album title is misspelled as "Richie Haven’s Record" on the spine.

The record wasn’t Richie’s doing. It was exploitation by Douglas. What I meant was that it was probably not strictly illegal but not a bootleg sourced from an adoring fan either. I don’t have a problem with bootlegs and many sensible musicians take them as flattering and realize that they’re bought and traded by the fans who buy all their records anyway so who cares. This kind of record is different. Pure exploitation by a producer with inside connections to record company tapes. Plus, as you pointed out, it doesn’t sound good.
Some say Douglas was a good producer, some of the time at least. I think maybe he wasn’t a very good person, some of the time anyway.

@noromance 

Douglas Records- not exactly bootleg but not exactly legit either...  
@big_greg Thanks for the info.  I ordered one.  Exactly what I’d been thinking of.  
 
Nice Uber.  Bet they sound fantastic.  Sorry to make you repost.  I haven’t been on AGon much lately.  
They had their sapphires hooked up to a LTA integrated at a show recently and they got great press.    I have LTA separates and so have become very interested in the synergies with the Spatials.  Could I PM you sometime about details/questions?


Spacial getting great reviews.  5s?  Very interested to know your impressions @Uber
And of course there is the slot on the plinth for keeping and extra headshell handy by. I keep a modest Ortofon elliptical loaded there for lesser records.   I got an LP gear Zupreme headshell that I really like. I think it was about 70 bucks but it’s really solid and sounds quite good I think. If I might ask, What brand is your case that holds 5 headshells?
Hey Greg,

Isn’t the 1200 is great for making easy comparisons and experiments with different cartridges. I really keep only two going at any one time but I’ve read that In some parts there is a lot of switching of pre-loaded headshells going on - like for every genre or even on almost every album.  
I’ll be interested to read about you finding your favorites.   


I dipped into the ultrasonic vat with no effect except that I could put my arm through the wall.  
Yes 
Relayer
2016 Steven Wilson Remix
the 2018 Box

Sonics on this seem more harsh than on the other records in this box.  Have not compared it to the O/P.  

@tomic601 

what we’re the results of your TT vs. Qobuz test?   You have a nice TT, how does Qobuz compare?
Hey Jim, you’re very welcome. I think my favorite caravan record is ‘girls who grow plump in the night’. You might like it. Progressive rock with a quick light touch and hilarious lyrics (actually the music itself can kinda put a smile on your face...)

Of course I’m assuming that you’ve heard ‘in the land of grey and pink’.  It’s great.  Side 2 is a classic.  
I mean, I think for a lot of guys who are a little older than I am who we’re into grey & pink when it came out think that the later stuff just isn’t as good.  (Maybe like camel fans who don’t love the post Bardens camel).  It is a little different but it’s still sweet music.  
+1 @mapman.  Yeah.  I love the early stuff with Sinclair’s organ but I also like the later stuff with the more contemporary keyboards.  It was still pre-80s real analogue sound.  But what I really like about the later stuff is that Pye’s guitar work is more upfront.  I just really like that guys music.  

noise on the power grid here has faded and the music is sparkling and soaring

Having one of those 6SN7 out of body experiences

maybe I should get better power conditioning and trip like this all day...

Focus
Hamburger Concerto

every time I listen to this I am amazed by the originality of the arrangements and the facility of the musicianship.  It really is genius.  

Philip Glass
The Hours

never saw this film but the music is incredibly emotional.  Lots of cello.   Sounds well produced.  More accessible Maybe than much of his other stuff.