Coming January 28th: a 6 LP all-analog 180g "Tone Poet"vinyl box set containing all six 1960s Blue Note Ornette Coleman albums including his five as a leader (the two volume At The 'Golden Circle' Stockholm (1965), The Empty Foxhole (1966), New York Is Now! (1968), and Love Call (1968)—as well as Coleman's lone sideman appearances on saxophonist Jackie McLean's New And Old Gospel (1967).
Okay, the photo has nothing to do with the text but I thought you might enjoy it and it's possibly good clickbait. This little dust up with Mike Esposito was really me doing what I've been doing since calling out the B.S. that was the compact disc revolution when the industry, both on the hardware and software side, was insisting that this new format sounded better than the old one when in fact it clearly did not, especially at that time. As Chad Kassem pointed out in the stream, we and others were subjected to major levels of abuse and told to "get with the program" and that we were just used to, and preferred distortion. You still get that today but it's easier to ignore.
(Review Explosion, curated by contributing editor Malachi Lui, is AnalogPlanet’s guide to notable recent releases and reissues. It focuses on the previous few months’ new releases for which we don’t have time or energy to cover more extensively.)
The always defiant, sometimes bitter and often angry Charles Mingus had a habit of declaring more than a few of his records as his best, including this one. He might be correct about The Black Saint And The Sinner Lady recorded January, 1963, though Tijuana Moods and several others are definitely in the running.
(Review Explosion, curated by contributing editor Malachi Lui, is AnalogPlanet’s guide to notable recent releases and reissues. It focuses on the previous few months’ new releases for which we don’t have time or energy to cover more extensively.)
You axed for it: tomorrow, November 30th at 4 PM on YouTube, Acoustic Sounds' Chad Kassem will moderate a "lively" hopefully friendly and informative discussion with "The stereo Mikes" Fremer and "The In Groove"'s Esposito. The main subject will be our two videos regarding lacquer longevity and its appropriateness as a sellable format.
Acoustic Sounds' Chad Kassem recently hosted in Salina, Kansas an event I labeled " Vinyl Y'Alta" that featured Stoughton Press's Jack Stoughton and RTI's Don MacInnis for a wide-ranging discussion about the state of the vinyl record industry in 2021. Kassem asked me to moderate from home and I gladly obliged.
(Vinyl Reports is an AnalogPlanet feature aiming to create a definitive guide to vinyl LPs. Here, we talk about sound quality, LP packaging, music, and the overarching vinyl experience.)
Real-life used record shopping is as joyful as it is potentially frustrating. These days, I mostly find used record bins of previous decades’ detritus; however, a recent browse through Asheville’s Harvest Records yielded luck. Following are reviews of three of those finds, plus one used LP ordered on Discogs.
Credit The In Groove's Mike Esposito. To his fans he can do no wrong. Clearly he's got a great record store and he usually provides in his videos useful information. To his fans, for daring to criticize him I am a "con man" (in the words of one of them) and I owe him "an apology". For what, I'm not sure, but for them he owes none to The Electric Recording Company though his seriously flawed video trashing of the company I think requires an apology.
How long do lacquers really last? The recent Supersense announcement that it would be releasing lacquers cut sourced from 1:1 master tape copies (the original announcement made it seem as if the company was claiming to be using actual master tapes, which made zero sense and was obviously not the case), produced a torrent of objections and outrage on this website under the original post and on the YouTube channel of record dealer The In Groove.