Foster, great report on both the Sylvania tubes and the Klimo LP!! Glad to hear both have worked well for you. Regarding the Klimo LP, you've nicely described what I find so attractive about this record. There are so many gems like this, but sorting them out is the challenge - one reason I've enjoyed this thread so much! . |
Foster, Thanks for letting us know your impressions of "Il Cornetto". It struck me very much the same on the first listen. It will be a few days to a couple of weeks before I post any more listening notes. You see, I am taking my Scoutmaster apart this evening in order to deliver it to it's new owner this weekend. My new turntable should be ready shortly, so hopefully I won't be without music for too long. |
I've been A/B auditioning some interconnects and power cords over the last few days, so I'm primarily listening to a few familiar disks I find useful for sonic evaluations, including stuff like Bill Evans' "Waltz For Debby" and The Buena Vista Social Club. (In addition to tweaks which involve the digital front-end, with those that affect the whole system or its back-end half I tend to do most of my preliminary auditioning with CD's instead of LP's, due mostly to the convenience factor of being able to repeat sections and tracks by remote control from the listening chair.) One of these recordings may be worth mentioning in particular, both because I consistently find it to illuminate subtle but musically meaningful sonic differences, and because most folks won't have heard it: Reknowned songwriter Jimmy Webb's 1996 CD on the Guardian label entitled "Ten Easy Pieces". Everybody recognizes Webb's famous 60's 'easy listening' pop hits as performed by others ("Galveston", "Wichita Lineman", "By The Time I Get To Phoenix", "Didn't We", the hideous "Worst That Could Happen", and the admirably infamous "MacArthur Park" are all included here), but this set features the man himself with just his piano and occasional light accompaniment (guests of note include Michael McDonald, Dean Parks, Marc Cohn and Shawn Colvin; there is no drum/bass rhythm section.) This material may not be everybody's cup of tea -- in many ways it generally isn't mine, in fact -- while the handful of 70's and 80's selections here are not nearly as strong or idiosyncratic as the older material IMO. And the recording itself is probably of debatable 'accuracy' or honesty from an audiophile viewpoint -- although relatively simple and unembellished, it's a studio product that doesn't make a pretense of adhering to a strict standard of 'naturalness' -- and anyway will not test a system's highest highs, lowest lows, or stretch its dynamic envelope to the bombastic limit. Not necessarily the most 'believable' or 'present' of recordings (it's close-mic'ed, so larger-than-life images and proximity-effect chestiness can threaten, though it never sounds bright or over-processed unlike most pop recordings), I've heard many that will make a system sound 'better' in terms of crystal clarity and spatiality, yet few that will so easily and reliably reveal system tweaks or changes. There's something about Webb's throaty, sinusy, rather rough (in the sense of seeming 'unschooled') vocals -- his baritone voice is equal parts smoke, honey, and not-quite-gravel ("mulch"?) around the edges -- together with the darkly rolling chords and bell-like arpeggiated figures emmanating from his piano (which, oddly enough, can slip at times into sounding, depending on the playback, as if it might in fact be not an acoustic piano but a digitally sampled one -- a point the instrument credit to "Young Chang - Kurzweil" leaves curiously open-ended, though I assume it's really acoustic), which along with the way the disk was recorded and for whatever combination of reasons, proves to be exceptionally sensitive to changes in the playback chain, especially within the all-important broad midrange. Whenever something (like a power cord swap) I'm trying to compare the effect of seems maddeningly elusive with other, potentially more confusing or obscuring disks, this is one I know I can pull out and feel confident of hearing whether and how the alteration in question impacts fundamental musical expressiveness and communication. I'm sure I wouldn't own this title if I hadn't stumbled onto it in a thrift store for $3 and decided what the hell, but I've grown to value it as an auditioning tool (and since I don't really listen to it for enjoyment -- not that I don't enjoy it in its way when I do -- I don't risk spoiling something I love by subjecting it to repetitive A/B's focusing on the sound, which can be a bummer when that starts to happen with stuff I actually care a lot about). Here's the Tower Records webpage with sound samples for anyone interested. At any rate, if you're a fan of these songs there's no arguing the authoritativeness of Webb's own interpretations of his compositions. |
Yes, J. Webb the man has really managed to fly underneath the public's radar all these years, despite how many people know his name and reputation as a songwriter. When I found this CD it was actually came as a bit of a shocker to finally see a face and hear a voice attached to the legend, neither of which at all matched my vague mental conception of who this guy 'was'. But Webb actually had several major-label records under his own name during his late-60's/early-70's heyday, and I'd like to find original copies of some of those. I took a flyer just now and typed in www.jimmywebb.com, and sure enough many more questions can be answered there. And if you jump to Tower's "Artist" webpage on him, it also appears he's got some sort of 4-disk series forthcoming next month. |
I was looking around and noticed that Webb got the Rhino Handmade 5-disk box-set treatment of his 70's albums -- 2,500 copies, all sold out, but brief soundclips are online (a copy is on ebay now for $277, set sale -- basically a $200 markup). Hard to tell from this if I'd really care to follow that deeply however; he's still pretty MOR, and I suspect that for my tastes the cream may have largely risen to the top with his 60's hits and selections from the two Richard Harris LP's, but I still wouldn't mind finding his first two solo LP's from '70 and '71. Here's a link to the liner notes from a reissue of the first LP. |
Lots of music playing today during our local audio group's gathering - a true vinyl fest! Here are some of the LPs playing while I was in the listening room (versus chatting in the room next door): Rimsky-Korsakov: Scheherazade, Reiner/CSO, RCA (Classic Records reissue) Rossini: Overtures, Gamba/LSO, Decca SXL 2266 (Speakers Corner reissue) Music of the Baroque: Oslo Consort, Simax PS1006 Dave Brubeck: Time Out (Classic Records reissue) Count Basie: 88 Basie Street, Pablo 2310-901 (Analogue Productions 45 rpm reissue) Led Zepplin I (Classic Records reissue) Creedence Clearwater Revival (Analogue Productions 45 rpm reissue) . |
Rushton, I'm afraid we might be birds of a feather in that more than not when my area Hifi group gets together it is predominantly a social gathering not unlike many (none) classical music concerts these days. I find the friendships great and the talk is often stimulating yet somehow many never sit down and really listen to the music (or the systems). Seems a little odd... I try to show up with a bag full of records that beacon the listener. So far I'm having modest success. There is a time and place for everything and I'm tring to promoting some focus. Happy Listening! |
Foster, our groups share many similarities! Folks are having so much fun just visiting with each other and talking that it's been a little challenging for those who want to do some serious listening. So, we've worked pretty diligently each of the last two meetings to separate the "listening room" from the "conversation room." Since we meet in each other's homes, and most listening rooms can't accomodate 20+ people at one time, rotating out has been working pretty well to allow everyone who wants to a chance to listen. Normally we're 16-20 at any given meeting, but today we had about 32 people: our largest gathering yet. That Lloyd Walker hosted the meeting may have had something to do with the larger turnout. ;) . |
Rushton, I thought in a previous thread you mentioned listening to Miss Julie, the 2 Act Opera on Lyrita. I cannot find the thread. If indeed you have listened to this recording would you mind giving a synopsis. Since I still have not found the Allegri Miserere on CFP I am looking for a reference opera recording that can be used as an audiophile tool to gauge how the system is able to capture performers as they move about the stage. I have an opportunity to purchase the Lyrita, but since my want list is much longer than my pocketbook I have to use some discretion. As always thanks for sharing your extensive experience with this vinyl madness we are addicted to. Kind regards, |
Montepilot, If I could jump in on your question to Rushton, re: "a good tool for capturing voices as they move about the stage" I have found Holst's "Savitri, A Chamber Opera In One Act" perfect for judging soundstaging and where both male and female performers are on the stage, as they move upstage to downstage, right to left. It is on the Argo label (ZN 6 if I'm not mistaken). I am sure Rushton will offer some fine suggestions of his own, but he and I both agree on the "Savitri" |
Slipknot1, Thanks much for the suggestion. BTW have you recieved your new turntable yet? I am looking forward to hearing your impressions on previously familiar recordings with the new rig. Tonight I am listening to Ornette Coleman & Charlie Haden duets, album is Soapsuds, Soapsuds on the Artist House Label. Ornette's sax is vivid with Haden's thumping acoustic bass. Clark Terry & Max Roach, Eighty Eights label, excellently recorded plus performances by two jazz giants. Acoustic sounds has limited quantities on vinyl. A must have. |
Montepilot, Not yet. I was at Lloyd Walker's last Sunday (he hosted our local audio group for an afternoon of listening on his personal setup). I saw the table, it is close to completion and I could be seeing it as soon as this weekend, or possibly next. I have already pulled and cleaned some LP's that have been discussed in this thread to listen to first, once the table is installed and dialed in. I will be sure and post my listening notes here. |
Montepilot, I agree with Slipknot's recommendation of the Holst "Savitri" on Argo ZNF 6 (and later as ZK 78). This is always my demonstration LP for someone who wants to hear the singers actually moving across the stage both laterally and from back to front. It's not all that rare, but you will have to be patient to find a copy from one of the used LP retailers (like Mikrokosmos or Ars Nova). Janet Baker is superb on this recording as Savitri, and the orchestral accompaniment is striking in the subtlety with which it's recorded. The Alwyn "Miss Julie" is not as dynamic in the motion on stage of the singers. And, the music may not as immediately engaging as the Holst. For my earlier comments on "Miss Julie", my post was on 1/17/06. Another alternative is the Maazel "Porgy and Bess" on Decca. An outstanding recording with great soundstaging and with superb performances by the vocalists. Unfortunately somewhat costly, however. . |
The Chambers Brothers -The Time Has Come on Columbia 360 sound. Bill Evans -Out of the Cool on Impulse/Speakers Corner Rushton, Hope the new cartridge is on the way. When it arrives I just pulled out a brown A&M (first) pressing of Teaser and the Fire Cat that I forgot I owned and I hate to say it but way back in November Wc65mustang commented that this pressing was Âclearly superior to the MoFi. Not even close. I have both. The MoFi is a tad quieter but the A&M is simply much more dynamic. Take a listen if you have a copy I think heÂs right, in fact mine proved it. I had compared the Mofi to a tan copy (second or third press) back in the fall. Wc65mustang, If your out there, that was an excellent call IMHO. Cheers! |
Foster, interesting comment on "Teaser." I've always enjoyed the MoFi reissue, notwithstanding its detractors in some quarters. My tan label A&M (Sterling mastering, F7) has always sounded good to my ear, but I found the MoFi bettered it in overall resolution and harmonic integrity. The MoFi is cut at a lower level than the tan label, and my tan label is probably not that early given the "F7" scribing. I'll have to give them another comparative listening with your comments in mind. Thanks! . |
OK, here we go: I'll start off by saying that Thursday 3/30, Lloyd Walker and Fred Law delivered, set-up and dialed in my new Proscenium Gold turntable. The build quality, looks and design are second to none. By the time we were done Thursday night, it was close to 11:00 PM and everyone was tired and our ears were a little frazzled, having spent the better part of the evening playing and replaying several LP sides so as to dial in the Magic Diamond cartridge. As a result, I spent almost all of yesterday in the listening room just listening to a wide variety of my favorite reference discs in order to get a handle on this turntable. For those of you looking for a great review of the Proscenium Gold, I would suggest your read the review put up by Rushton http://forum.audiogon.com/cgi-bin/fr.pl?ranlg&1083208495&openusid&zzRushton&4&5#Rushton There is not much I can add to what he has written so eloquently here, except to say that my feelings pretty much echo his. This LP playback system is designed and engineered with tolerances and specs like those in a nuclear power plant (Lloyd is a control systems engineer). Once the table is set up, maintainence and use are so easy, it belies the build quality. While VTA is not changable "on the fly", it takes about 20 seconds or so to make adjustments to acommodate for 140, 180, or 200 gram LPs. Believe me when I tell you, that when you use a product of the caliber of the Walker and a cartidge of the caliber of the Magic Diamond, those incremental, tiny changes in VTA make a world of difference in the sound, from just plain great, to holy-cow-I-never-heard-that-on-this-recording out of this world. A list below of some of the things we have been listening to: Stravinsky "Firebird" Dorati/LSO 200g reissue Basie "88 Basie Street" 200g 45 rpm reissue of the Pablo Ray Brown/Laurindo Almeida "Moonlight Seranade" Jeton (This one blew Lloyd Walker away) Ray Brown Trio "Soular Energy" 200g blue vinyl reissue "Il Corneto" Klimo Open Window Miles Davis "Kind Of Blue" 200g 45 rpm reissue Rachmaninoff "Piano Concerto No. 3" Janis/Dorati - Mercury reissue Dead Can Dance "Into The Labyrinth" Thanks to Fred law for brining me a copy of this long OP record Patricia Barber "Modern Cool" MOFI 45 rpm reissue Holst "The Planets" von Karajan/Berliner DG recording Strauss "Eine Alpensinphonie" von Karajan/Berliner DG More stuff on tap for this evening, but I have to give my ears a chance to recalibrate. |
Tonight: Mendelssohn, Overture: "The Hebrides" ("Fingal's Cave") Peter Maag/LSO (Decca SXL 2246) Speaker's Corner 45 rpm reissue Bill Evans Trio "Sunday At The Village Vanguard" (Riverside 9376) Schuller "Seven Studies On A Theme Of Paul Klee" Dorati/Minneapolis (Mercury SR90282) Respighi "Church Windows" Keith Clark/Pacific Symphony (Reference Recordings RR-15) 45 rpm. The bass drum whacks during the finale of "St. Gregory The Great just put the punctuation on tonights session. I had to stop listening just to catch my breath. The Walker Proscenium Gold Signature, the Magic Diamond cartridge truly are magic together. Lloyd tells me I have a way to go before it gets broken in and it will continue to just keep getting better. One thing I know for sure: I am getting the best sound in my listening room I have ever heard. It has been like rediscovering all my LPs again.... |
Thanks Ken, but I'll pass ;) Tonight: Mickey Hart, Airto, Flora Purim "Dafos" (Reference Recordings RR-12) 45 rpm Respighi "Ancient Airs And Dances (Three Suites: 1917, 1923 & 1931)" Neville Marriner/Los Angeles Chamber Orchestra (Musical Heritage Society MHS 4931Z) Pink Floyd "Dark Side Of The Moon" (Harvest SHVL 804) 30th Anniversary reissue, Holland pressing Coleman Hawkins "Night Hawk" (Prestige Swingville 2016) Analogue Productions 45 rpm reissue |
Slipknot1 Congrad's on the new TT, I'm sure at this point your happy just to stay at home and spin vinyl at the drop of a hat! Do a lot of old acquaintances (i.e. well played records) sound like strange new friends? Happy Listening! Tonight on the old Lp12: Jazz at the PawnShop on Prophone Records Beautiful live recording, it swings! God this record reminds me of my Dad and his love for Bennie Goodman. A truly fun ramp. |
I took a couple out of town trips recently and of course bought many used records -- but had the chance to pick up original copies of two Jimmy Webb LP's, including his debut, and ultimately passed after checking them out on my portable player. Oh well. Anyway, here's a sampling of what I did get (can't claim it's all on my TT tonight -- most of it still needs cleaning!): Lee Morgan -- "The Lee Morgan Quintet" [Vee-Jay, 1965] He cut two LP's in 1960 for this famed Chi-town waxery ("Here's Lee Morgan" and "Expoobidient"), which this set apparently compiles tracks from. Liner quote from Lee in 'Downbeat': "Dizzy, Miles, Kenny Dorham, and maybe Thad Jones are the only modernists with an original style. I like a lot of other trumpet men...they're all good musicians, but they -- and include me -- we're all playing more of less alike." The Beau Brummels -- "Beau Brummels '66" [WB] Their 'contemporary covers' LP, a mission beneath this group's considerable songwriting talent and one I imagine was mandated by their new label, but which they nevertheless more than did justice. The Detriot Emeralds -- "I'm In Love With You" [Westbound, '73] The final LP of this criminally forgotten funky soul vocal group's original three on Westbound, good but not as great as the first (which I own), still searching for the second. Link Wray -- "Bullshot" [Visa, '79] The best of his post-60's work IMO, largely the same group as on the 'with Robert Gordon' records but focused on instros. Spencer Davis Group/Traffic -- "Here We Go 'Round The Mulberry Bush" Sndtrk. [UA, '68] Here goes Stevie Winwood around the group-go-round. Baby Cortez -- "The Isley Brothers Way" [T-Neck, '70] Sounds like backing tracks from contemporaneus Bros. Isley albums with the vocals removed and organ added (the "Dave" was also apparently removed). Adulterated genius. Billy Lee Riley -- "Big Harmonica Special" [Mercury, '64] Yes, the same BLR of Sun Records' "Flying Saucers Rock And Roll" and "Red Hot" immortality, and cat can blow. Seems they failed to tear it up at the discotheques to this one -- wow, how could harmonica miss? -- but loads of fun anyway. Tunes include "Bo Diddley", "Memphis", "My Babe", "Susie-Q", "High-Heel Sneakers", "Kansas City"...you get the picture. Sonny Rollins -- "Alfie" Sndtrk. [Impulse!, '66] Been looking for a really clean copy for years -- score! Friedrich Gulda -- From Vienna With Jazz [Columbia, '64] Have a couple of this classical pianist's other jazz dates, all good. Someone else would doubtless be more qualified than I to comment on his classical work and the controversies his jazz forays made in that world, but he's definitely the real deal on the keys and a memorable composer too, kind of like Andre Previn I suppose but without the pop schmaltz side. Max Roach -- "Deeds Not Words" [Riverside, '6?] Repackaged collection of thee drummer's recordings featuring Booker Little, George Coleman, Art Davis, plus Ray Draper on tuba! Terry Black -- "The Black Plague" [ARC, '65] A Canadian attempt at manufacturing a teen idol about a few years too late, this kid was apparently plucked off a Toronto TV dance show, dressed in Beatle duds while still sporting a Ricky Nelson hairdo, and hustled into the studio with a boatload of great Sloan/Barri tunes. He can even sing. The Reds -- "Stronger Silence" [Stony Plain, '81] Have their late '70's A&M disks, this sounds a bit less punk and more new wave, but still with an edge, sort of like early Stranglers. Singer is reminiscent of the guy in Wire, even though they're from Philly. The Astronauts -- "For You From Us" [RCA, '65] Same crew who proved Coloradans could surf on guitars with '63 classic hit "Baja", not as distinctive as their great early instro LP's but they do actually sing well too, and I prefer this to their more common 'live on campus' LP's from the in-between period. Manfred Mann -- "The Mighty Quinn" [Mercury, '67] Song titles don't get much more Sixties than "Ha Ha Said The Clown" or "Semi-Detached Suburban Mr. James". Roy Harper -- "Flashes From The Archives Of Oblivian" [Chrysalis, '74] 2-disk live concert set by the man Led Zep and Pink Floyd lionized. Front cover pictures him with his pants off and, um, matters well in hand so to speak, while on the back one he's sniffing his pit. Sleeve design credit reads, "Continuous Argument between Roy Harper and Hipgnosis (and it shows)". The orchestrated version of "Another Day" is beautiful beyond words. The Esquires -- "Get On Up And Get Away" [Bunky, '68] Soul vocal group from Milwaukee who recorded in Chicago, the LP title splits right down the middle as the titles of their two hit singles. Sounds almost exactly like The Impressions, but no Curtis Mayfield involvement so far as I know. One of my best finds of the month. Gun - S/T [Epic, '69] Power trio's debut (I already owned and dug the followup, "Gunsight"), and -- just as with Cream -- in the liners they're refered to as "The Gun". Includes UK hit "Race With The Devil", later covered to good effect by Girlschool. Lead guit Adrian Curtis would go on to revert his name back to Gurvitz and help lead an Army with Ginger Baker, completing the Cream-y circle. Rockingly avoids the sludge and blooze that infests most of these affairs, reminds me a bit of the Amboy Dukes. The McCoys -- "You Make Me Feel So Good" [Bang, '66] Followup to the "Sloopy" LP (which I also have) features yet more Feldman/Goldstein/Gottehrer-produced and co-written gems, such as the insanely catchy "Say Those Magic Words", plus a killer version of Richie Valens' "C'mon Let's Go", and even one Rick Derrigner -- uh, Zehringer -- original to leaven the Pomus/Shuman/FGG onslaught. Rock'n'roll hootchy-koo indeed! Jerry Goldsmith -- "Our Man Flint" Sndtrk. [20th Century Fox, '66] This souvenier from one of the ginchiest films ever made stands as proof that you can find almost anything if you hunt for it long enough. Bouillabaise never tasted the same again! Jim Messina & The Jesters -- S/T [Thimble, '7?] Reish of '64 Audio Fidelity LP originally released as "The Dragsters". Yes, the same dude from Buffalo Springfield and Poco, who was half to blame for Loggins And Messina, started out as a surf/hot rod instro guitarist, a damn fine one too. Best singles (not a lot of 45 action on this expedition): Carl Perkins -- "Pink Pedal Pushers"/"Jive After Five" [Columbia, '58] The lead-off volley of his post-Sun career. Storey Sisters -- "Bad Motorcycle"/"Sweet Daddy" [Cameo, '58] There was another Storey Sisters who were hillbilly country. These soul sisters were from Philly and this was their one-shot, incredibly motorvatin' R&B hit, featuring the great session guitarist 'Wild' Jimmy Spruill ("Kansas City", "Tossin' And Turnin'", "Fannie Mae" were just some of the bigger hits he played on). If you don't dance, you're dead. Vrun, vrun, vrun! |
Beth Orton - Daybreaker on Heavenly Beth Orton - Central Reservation on Heavenly Beth Orton - Trailer Park on Heavenly Ok, this one is a CD. Tried twice before and finally caught here live. She visits the colonies too rarely for my liking. Beth performed at the Majestic Theatre on Thursday in Detroit. The place is a dump but she sounded stellar, very nice show and needless to say she's not too tough on the eyes either. The new material from "Comfort of Strangers" is quite good and will be out on vinyl straight away. Happy Listening! |
LP's Percy Sledge -- Any Day Now [comp. Charly, '84, rec. bet. '66-'73] "When A Man Loves A Woman" Tiny Bradshaw -- Breakin' Up The House [comp. Charly '85, rec. bet. '50-'52] "The Train Kept A-Rollin'" The Moonglows -- Their Greatest Sides [comp. Chess, '84 rec. bet. '55-'57] "Sincerely" Deon Jackson -- His Greatest Recordings [comp. Solid Smoke, '84 rec. bet. '65-'69] "Love Makes The World Go 'Round" Honey Cone -- Sweet Replies [Hot Wax, '71] "Want Ads" Charles Mingus -- Let My Children Hear Music [Columbia '71] Lambert, Hendericks & Ross -- Sing Ellington [Columbia six-eye mono, '60] CD's The Superfine Dandelion -- S/T [comp. Sundazed, '00/rec. bet. '66-'68] "Bottle Up And Go" (as The Mile Ends) Hava Narghile -- Turkish Rock Vol. 1 [comp. Dionysus, '02/rec. bet. '65-'75] Dance With Me -- The Autumn Teen Sound (Nuggets From The Golden State) [comp. Big Beat, '94/rec. bet. '64-'68] Autumn label co-founded by SF DJ Tom Donahue, best known for hits by Bobby Freeman and The Beau Brummels (not artists on this disk), most sessions produced by Sylvester Stewart AKA Sly Stone |
John Renbourn -- Sir John Alot Of Merrie Englande's Musyk Thyng & Ye Grene Knyghte [Reprise, '68] Reference-quality recording of fingerstyle steel-string guitar, w/hand percussion and flute. Along with Bert Jansch, one of the guys Jimmy Page got a lot of his acoustic ideas for Led Zep from. Barbara Lewis -- Baby, I'm Yours [Atlantic, '65] Title hit and "Hello Stranger", to my mind a pretty sophisticated and mature pop song for a 19-year old to have written for her debut smash. The Buddies -- Go-Go With [Mercury Wing, '65] Mike Curb-produced studio surf vocal group creation, plus some instros featuring guitar god Davie Allan, pre-fuzz. The Spinners -- The Original Spinners [Motown, '67] Only Motown LP from a group much better known for their work on Atlantic in the 70's, includes some single sides going back to the early 60's. The Nitty Gritty Dirt Band -- Ricochet [Liberty, '67] Sophomore effort from pre-Bojangles, pre-"Circle" incarnation, when they were briefly an LA teen sensation before falling into temporary obscurity 'til the early 70's. A few too many sub-Lovin' Spoonful jug-band/old-timey/kazoo-silliness numbers for my taste, but still some strong tunes, including a couple written by a young Jackson Browne. Hawkwind -- Quark, Strangeness And Charm [Sire, '77] The rocking numbers are almost punky: Syd Barrett meets Chuck Berry. Testors -- New York City Punk Rock 1979 [Rave Up (Italy), '00] Formative band in that scene existed from '76-'81, toured US with Dead Boys but seemingly didn't stray too far in any other way. JT/Heartbreakers-like, faster and less distinctive but has the sound/attitude (don't let the goofy new wave sunglasses throw ya), and trashcan-o-phonic sonics guaranteed to rid any room of all audioweenies quick! Singer Sonny Vincent has since worked with a who's who of NYC, Midwest, CA and Brit punk personalities in various projects. James Brown -- Ain't It Funky [King, '70] Yes it is. Quincy Jones -- The Slender Thread (sndtrk.) [Mercury, '66] Flick starring Sidney Poitier and Anne Bancroft, with Telly Savalas, Ed Asner and Steven Hill, directed by Sydney Pollack and co-written by Stirling Silliphant, fairly gripping suicide drama I haven't seen in years but remember as being good (not on DVD I don't think). Like "A Patch Of Blue" in that it quasi-confronts issues of race by juxtaposing Poitier's typically idealized character against a situation of trying to save a white woman who literally can't see that he is black and leaving the possibility of romantic love unconsumated. Q's score has its spots but to me is not up to "The Pawnbroker" and some others, I'm guessing because his workload got ridiculous after he first zoomed to being a red-hot Hollywood composer. Sonny Boy Williamson -- The Real Folk Blues [Chess reissue '87, rec. bet. '57-'63] If by "folk" you mean electric Chicago blues and none better. |
Yessongs...original pressing, great live performance, average recording. Buddy Guy, I was Walking through the Woods, MCA 200 gram reissue, great recording lets you hear how many later recordings are so over produced. Fabulous guitar. Bill Evans/Jim Hall...Undercurrents, great piano and especially guitar. Billy Joel, The Stranger, original pressing...what a recording! |
