(Review Explosion is a recurring AnalogPlanet feature covering recent releases that due to time constraints we cannot sufficiently explore. Curated by AnalogPlanet contributing editor Malachi Lui, Review Explosion focuses on the previous few months’ new releases as well as archival titles and reissues.)
Billed by his label as a “long lost masterpiece by Neil Young”, referred to by fans as “one of Young’s mysterious, great ‘lost albums’” and described by Young himself as “the one that got away”, Homegrown was recorded mostly between late 1974 and early ’75, with one track from late spring ‘74 and another from late summer of that year.
A lawsuit. A specific club night. Films that you’ll never see. A stray cat. Extremely rare posters and promo items that probably ended up in landfill. An unrealized menstrual abacus egg timer. Several buildings.
Mentioned above are Factory Communications catalog items that frustrate completists; they’re unobtainable. Sure, you can get pieces of the buildings, or a picture of the cat, or track down people with (drug-influenced) memories of the party. But if you weren’t there, you really weren’t there and can’t go back. Only remnants of the Manchester label’s catalog oddities remain.
Qobuz, the Hi-Res streaming and download service, just launched a "family plan" that allows up to six members per account for $24.99 per month—or $10 more a month than the current "solo" plan.
In January 1961, Riverside Records sent the great, but sadly uncelebrated recording engineer, David Jones (also known as Dave Jones and David B. Jones) to New Orleans to record Black traditional jazz musicians for a projected series of albums to be called “New Orleans—The Living Legends”. Jones is little remembered today and remains a shadowy figure, despite recording five months later, also for Riverside, the all-time audiophile classic Bill Evans LPs, Sunday At The Vanguard and Waltz For Debby. Jones did not follow the career path that made other recording engineers who were his contemporaries, latter day icons. He never recorded rock or pop music, limiting himself to on-location recordings for small independent labels of ethnic and classical music, and occasionally jazz. The personal recording style that he created and mastered strove to capture the natural sound of instruments in a room from a slightly distant, contemplative perspective and eschewed whizzbangery and artificial flash. It’s a subtle style that does not immediately impress and one that has undoubtedly limited his reputation.
The Electric Recording Company announced yesterday it was preparing its reissue of Shostakovich's Symphony No.13:Babi Yar with André Previn conducting the LSO/Dimiter Petkov bass, with the London Symphony Chorus.Words by Yevtushenko
Newvelle Records just announced The New Orleans Collection, a new 4 LP set featuring brand new recordings produced this spring featuring Irma Thomas, Little Freddie King, Jon Cleary and the final recording by the late Ellis Marsalis who soon after making this record, passed away from Covid-19.
The Electric Recording Company (ERC) just announced it is now accepting pre-orders for its limited to 300 copies edition "True Mono" reissue of Love's iconic album Forever Changes. HOWEVER DUE TO A MISCOMMUNICATION, I WAS UNDER THE IMPRESSION THAT IT IS A DISCRETE MONO MIX. IT IS NOT!.
June 11, 2020—Verve Label Group and UMe announced today the July 31st launch of a new “audiophile grade”, all-analog reissue series supervised by Acoustic Sounds CEO Chad Kassem, featuring iconic titles from the Verve, Impulse!, Philips, EmArcy and Decca catalogs.
In the blink of a vinyl resurgence Technics went from retiring in 2010 the venerable SL-1200 turntable to resurrecting it six years later with two all new “Grand Class” 1200s aimed not at the DJ market as was the original 1200, but at audiophiles.
The limited to 1200 units SL-1200GAE quickly sold out. In 2017 we reviewed the SL-1200G, which other than having a different magnesium tone arm finish and minus a plaque was identical to the limited edition SL-1200GAE.