The "Tapestry" Reveal!

The music enthusiasts who ran the reissue label 4 Men With Beards appreciated the vinyl format, so they reissued 180 gram records in glossy gatefold jackets, thus producing physically desirable, attractive reissues. They were not at all concerned about “analog purity” or sound quality other than that the CD or file supplied by the licensing record label was the “official” source. 4 Men began reissuing these records at a time when little vinyl was being released by anyone.

Is The Kid A Mnesia Vinyl Set Worth Your Money?

In November 2021, Radiohead combined their “twin albums” Kid A (October 2000) and Amnesiac (May 2001) with a previously unreleased outtakes collection, Kid Amnesiae, for the highly anticipated three-disc Kid A Mnesia.
Primary Category: 
Category: 
Artist: 
Radiohead
Album: 
Kid A Mnesia
Cred Label: 
XL Recordings XL1166LP 3LP (EU pressing)
Cred Prod: 
Nigel Godrich and Radiohead
Cred Eng: 
Nigel Godrich, Gerard Navarro, Graeme Steward, Dan Grech-Marguerat
Cred Mix: 
Nigel Godrich
Cred Mast: 
Barry Grint at Alchemy Mastering at AIR (new lacquers)
In November 2021, Radiohead combined their “twin albums” Kid A (October 2000) and Amnesiac (May 2001) with a previously unreleased outtakes collection, Kid Amnesiae, for the highly anticipated three-disc Kid A Mnesia. Several formats are available: US and EU standard weight 3LP pressings on black (standard) and red (limited) vinyl, a similar 3CD set, a Japanese 3CD featuring Amnesiac B-sides excluded from most other Kid A Mnesia releases, a Kid Amnesiette limited edition double cassette (also featuring those Amnesiac B-sides), and the sold-out “Scarry Book.” The latter, a super deluxe 3LP package, lacks the Amnesiac B-sides but features a 36-page large-format art book and the 3 LPs on 180g cream-colored vinyl.

Review Explosion: The Weeknd, Burial, Hikaru Utada, The Beatles, & Beach House

(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.)

Catching Up With Colin Hay Part 3

Catching Up With Colin Hay Part 2

COMMENTS
pchristian's picture

I am in that certain age where Men At Work were everywhere. I always liked that album, and as a drummer, I always thought the drums sounded great. Glad to read that Colin feels the same way. Speaking of drummers, when Chad says"...I was the drummer in this band called School of Fish..." I felt the need to comment. IMO School of Fish was a seriously under rater band. They should have been much bigger than they were.

Nice interview, and the album sounds great - streaming via Qobuz thru Roon.

mariakenneth's picture

Colin Hay's music has a timeless quality that resonates with fans across different stages of their lives. His ability to evoke nostalgia and introspection through his songs is truly remarkable. Listening to his music can transport you back to specific moments, much like a conversation on omegle unexpectedly connecting you with someone who shares a similar memory or appreciation for his work.

domen's picture

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Catching Up With Colin Hay

Everyone has that band or performer that represents in his or her life a particular time and place. Colin Hay for me is one of those artists.

It was the mid-80’s, and I was a college radio DJ at St. Mary’s College of California. These were the pre-Internet days, and in our lives music was the predominant force. CDs were slowly emerging, but vinyl was still king. We would spend long nights spinning records in the KSMC studio and discussing the artists on the air, while the rain beat quietly on the windows.

Billy Byers—Impressions of Duke Ellington —Mercury PPS 6028—The Records You Didn’t Know You Needed #10—Part 2

COMMENTS
Trevor_Bartram's picture

I'm listening to Impressions of Duke Ellington now courtesy of YT, it's a wonderful recording. It's not out on CD because of the difficulty of working with 35mm magnetic film. It's a pity it wasn't released along with the Living Presence and Everest recordings of twenty years ago. Enjoy.

gjetson's picture

An excellent overview of the Perfect Presence series and a great review of the Impressions of Duke Ellington disc. I have a soft spot for these early stereo releases -- they seem to capture the real sense of excitement about the great sound offered by the new technology. Even though they tend to be dismissed as kitschy remnants these days, as you point out, many of them feature outstanding musicians and arrangements. And the sound quality holds up very well. Over the years I've picked up several of the Perfect Presence releases as well as others in the Command Records' Persuasive Percussion series, Enoch Light's Project 3, RCA's Stereo Action, as well as Decca/London's Phase 4 series. I've found most of these albums in great condition in the dollar bins of my local thrift stores.

my new username's picture

Accomplished musicians as label execs. What a concept! And then, folks on the tech side had enough pull to control quality. It all seems foreign today.

re: mastering
Yeah it should be great ... Google tells me R. Fine took the 3-track source recordings and did the 3-2 mix down live, literally making the lacquer cut on the Skully the master recording.

Many of these did get re-released on CD by Mercury in the early 1990s, this time by Wilma. Again, Google can be sketchy. I've read that she did the same live mix down technique for capture by with either a Sony 1630 or to DAT.

What I'd also read was that while the Westrex machines and custom 3-ch mixer still existed, they had to first be rebuilt for the CD effort. And ... that was that. Subsequent SACD titles were made from a digital copy, not the Westrex source tape. So unless they somehow ran the Westrex machines again for a 24-bit capture, the SACD source material would have had to have been the earlier 16-bit CD master.

All that aside, I'm not sure I'll pursue this one. From the description it seems the "foolery" was very much evident on this title as well.

infohou's picture

Hey Folks,

All I can find is the reissue. Would love someone point me to a mint original.

Thanks,
Robert

Robcos0202's picture

I keep reminded myself to revisit your others and do some listening and hunting(and I always forget until I read the next one). *rolling eyes*. Fixing that tonight.

HiFiMark's picture

Posts like this are wonderful at bringing interesting and fun finds to the analog community. But they do create runs on these things! Upon reading this, I immediately checked and had to "go" to Germany via Discogs to grab a (claimed) VG+ copy. About $14 w/ shipping. We'll see... seller has a 100% rating. Those wanting clean copies now without paying big bucks will likely have to search the world of used record bins in brick and mortar locations. Over the years, I have found the primarily online retailers catch on to articles like this pretty quickly and shoot up the prices. Brick and mortar retailers don't have time to run around the store and price-up obscure items like this LP. But hey, the hunt is great fun. Enjoy it!

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Billy Byers—Impressions of Duke Ellington —Mercury PPS 6028—The Records You Didn’t Know You Needed #10

Billy Byers (1927-1996) was an excellent jazz trombonist that today is probably best known for his all over the horn, hard-swinging solo on the title track of Frank Zappa’s The Grand Wazoo album. Although he was awarded a long solo by Zappa, a famously exacting taskmaster, and played in the bands of the no less demanding Buddy Rich and Benny Goodman, recorded as a sideman on many jazz dates and made two albums as a featured soloist, Byers after the late 1950s, mainly worked as an arranger, not as a player. Probably the choice of the rigors and travails of the life of a touring jazz musician or the frequent tedium of studio work had little appeal and he made a long and successful career for himself, writing arrangements for hundreds of jazz recordings, movies and television shows. Discogs lists three hundred and forty-one “Writing & Arrangement” credits for Byers.

Oscar Peterson's Aptly Titled A Time For Love  —The Oscar Peterson Quartet Live In Helsinki, 1987

Oscar the entertainer, Oscar the speed demon, Oscar the classicist, Oscar the sensitive listener, Oscar the composer, Oscar the nimble. All the Oscars you know and love were onstage in Helsinki's Kulttuuritalo concert hall, November 17th, 1987 along with Joe Pass, Dave Young and Martin Drew for an evening of great entertainment and music making recorded by the Finnish Broadcasting Company.

Primary Category: 
Category: 
Artist: 
The Oscar Peterson Quartet
Album: 
Oscar Peterson A Time For Love
Cred Label: 
Mack Avenue-Two Lions MAC1151LP 3 180g LPs
Cred Prod: 
Kelly Peterson
Cred Eng: 
Hekki Hölttö, Pentti Mänikkö
Cred Mix: 
Blaise Favre
Cred Mast: 
Blaise Favre, lacquers cut by Chris Muth
Oscar the entertainer, Oscar the speed demon, Oscar the classicist, Oscar the sensitive listener, Oscar the composer, Oscar the nimble improvisor. All the Oscars you know and love were onstage in Helsinki's Kulttuuritalo concert hall, November 17th, 1987 along with Joe Pass, Dave Young and Martin Drew for an evening of great entertainment and music making recorded by the Finnish Broadcasting Company.

Do You Need Spiritualized’s Let It Come Down Reissue?

Four years after his addiction-and breakup-themed magnum opus Ladies And Gentlemen We Are Floating In Space, Spiritualized’s J Spaceman (Jason Pierce) reemerged with the band’s fourth album, 2001’s Let It Come Down. Greeted with high anticipation—and recently reissued as the final installment in Fat Possum’s Pierce-supervised Spaceman Reissue Program—Let It Come Down is now commonly seen as the moment when Spaceman lost the plot.
Primary Category: 
Category: 
Artist: 
Spiritualized
Album: 
Let It Come Down
Cred Label: 
Fat Possum/Sony UK FP1754-3 special edition ivory colored vinyl 180g 2LP
Cred Prod: 
J Spaceman and John Coxon
Cred Eng: 
Mads Bjerke and Guy Massey at Air Studios and Abbey Road
Cred Mix: 
Mads Bjerke and J Spaceman at Olympic Studios
Cred Mast: 
Bob Ludwig at Gateway Mastering (original), Barry Grint at Alchemy Mastering (vinyl reissue)
Four years after his addiction-and breakup-themed magnum opus Ladies And Gentlemen We Are Floating In Space, Spiritualized’s J Spaceman (Jason Pierce) reemerged with the band’s fourth album, 2001’s Let It Come Down. Greeted with high anticipation—and recently reissued as the final installment in Fat Possum’s Pierce-supervised Spaceman Reissue Program—Let It Come Down is now commonly seen as the moment when Spaceman lost the plot. “It all fell apart a little bit during this period,” he admits. Two decades later, Let It Come Down stands less as a great Spiritualized record and more as a product from the bygone era of expensive recording budgets and ample studio time.

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