Is it possible to now write anything that hasn’t already been written or said about this record? I haven’t any fresh insights to offer that might advance what you probably already know. A good Kind of Blue pressing puts you in the 30th Street studio to hear the performance. Ashley Kahn’s “Kind of Blue” book sets the pre-recording stage, offering both musical and technical details and puts you as much in the control room as in front of the band.
One side electric, one side acoustic, both sides of this March, 1965 release announced in both words and music Dylan's liberation from his folk music and "spokesperson for a generation" straight jacket and a turn towards more personal expression.
Pete Townshend’s sprawling second rock opera, issued in the fall of 1973, uses the troubled teenaged character Jimmy to elucidate adolescent coming of age issues generally and those of post WWII English kids (like the four members of The Who) specifically.
Beginning in 1952 and extending into 1953, Savoy Records issued a five-volume series of 10-inch LPs dubbed The Birth of Bop. Taken as a whole, these recordings present a fine snapshot of many movers and shakers in the bebop music-making universe of the times. And now, Craft Recordings has collected them all into the newly remastered The Birth of Bop 10-inch 5LP box set. Read Mark Smotroff’s review to see why this high-quality release belongs in your vinyl collection. . .
We’ve been talking about Pink Floyd’s Animals 2018 Remix LP for a few months now, and we’ve finally gotten copies in hand to spin on the AnalogPlanet reviewing turntable. How good does this new Animals 180g LP sound, you ask? Read on to find out what Mark Smotroff finds — as in, what’s truly great, and what’s not-so-great — in his in-depth review. . .
If any Byrds music deserves to be heard stripped of its vocals, it's the exploratory jazz and raga influenced instrumental tracks produced for the Fifth Dimension sessions. Having fallen under the influence of Ravi Shankar and John Coltrane, the band spent long nights in the studio jamming, finally producing its epic “Eight Miles High” along with the rest of the album, some of which was not quite as accomplished.
It was the summer of 1978. The Cars were moving in stereo. They let the good times roll and were just what I needed.
As it turns out, The Cars were just what another million music fans needed too. Recorded at London’s AIR studios, their debut record was so fresh and appealing that it instantly became an AM radio favorite and went Platinum in six months.
Baby boomers no more appreciated Sam Cooke’s slick conquest of the Jewish supper club set when it was first recorded and issued on RCA Victor in 1964—the same year Cooke died—than they did Bobby Darin’s. To some teens at the time, “You Send Me,” and “Splish Splash,” were theirs, but this dated style Copacabana review was their parents’. In retrospect, the million plus seller “You Send Me,” was much closer to easy listening than to rock’n roll, and while Darin’s foray into the teen market with tunes like “Splish Splash, and “Dream Lover,” was explicit to the point of being exploitive, Cooke’s chart success with songs like “Chain Gang,” was far more subtly drawn. Perhaps that’s because, having already succeeded as a gospel singer with the Soul Stirrers, and as a soul star on the black “chitlin’ circuit,” he was less in need of pop stardom. Darin may have roamed, but it was within a more limited territory, until events of the ‘60s—musically and otherwise— shattered his slick showbiz pretenses.
What a voice, what a loss. Dolores O'Riordan, lead singer of the Irish group The Cranberries died suddenly in London January 15th, 2018 at age 46. She was in town for a recording session.
O'Riordan wrote lyrics and on some of the group's songs, the music as well, including three on this, the group's 1993 debut album. She also wrote music and lyrics on probably the group's best known song "Zombie"—her reaction to terrorist bombings by the Irish Republican Army—which is not on this album.
There are probably many behind-the-scenes reasons why indie-rock/power-pop legends The dB’s just could not get their first two albums released by an American record company back in the early 1980s. Whatever the cause or the case, that outright crime for fans of all things jangly power pop and indie rock has long been overdue for amending. Thankfully, a new reissue series by independent record label Propeller Sound Recordings has gone a long way to make up for that unfortunate ’80s misstep. The second entry in The dB’s vinyl reclamation series is their 1981 sophomore LP, Repercussion. Read Mark Smotroff’s review to see why Propeller’s truly wonderful Repercussion LP reissue belongs on your turntable today. . .
Billed as “The Expanded 1963 New York Studio Sessions”, Resonance Records’ Black Friday offering Eric Dolphy Musical Prophet is anything but one of those RSD repackaged assemblages of cast off secondary material meant for fanatical completists. The phrase “connective tissue” kept running through my head as I listened to the 3 LPs and read “mouth agape” the vital annotation that threaded together the confused recorded history.
“If there’s one thing that ties the two EPs together, it’s that all the songs are about moving,” wrote Brooklyn-based indie rock band The Dig in a recent press statement. Over the course of their move from Brooklyn to Los Angeles, they wrote and recorded the songs that would make up two new EPs, Moonlight Baby and Afternoon With Caroline. After dropping tracks from these releases throughout the year, the latter has finally been released in full and both EPs have been paired for a new vinyl release courtesy of Roll Call Records.
Donovan may claim to not be a Dylan wannabe, but when you listen to "Catch the Wind," this compilation's opener, his claim rings hollow. It's so Dylan, so "Chimes of Freedom," and so derivative, there's no escaping the Dylan in him.
Do you really need a musical discussion at this point in time? All I can say is that in the "Summer of Love" of 1967, all you could hear coming from car radios, and open windows was the edited version of "Light My Fire." It defined that summer for most of my peers and was the perfect calling card with which to beg for some action from a date. Hard to believe that was 45 years ago.
In honor of Audiophile Day (October 2), I spent the balance of my afternoon and evening hours spinning some of my favorite LPs, both new and old alike. With that in mind, let me tell you a story about The Doors and the big beat of Analogue Productions’ new 200g 1LP UHQR edition of their April 1971 studio swan song with Jim Morrison behind the mike during his lifetime, L.A. Woman. Read on to see why this new Clarity Vinyl edition belongs on your turntable now. . .