Interviews

Let’s face it — January 1977’s Animals has always been considered to be somewhat of a dark horse in the Pink Floyd recorded canon. Yet here in Year 45 of Animals, the album is finally getting a rightly deserved re-evaluation, thanks to the just released Animals 2018 Remix. To learn more about the process of getting from there to here, AnalogPlanet spoke exclusively to Pink Floyd drummer Nick Mason about what elements of the original album stand out more on the remix, which Pink Floyd albums sound better in mono on vinyl, and why the band was compelled to make new music in 2022. Read on to find out why that Animals 2018 Remix is breaking away from the pack . . .

Paula Cole didn’t want to wait any longer to take full control of her career — so the acclaimed, heart-on-her-sleeve singer/songwriter started her own 675 Records label a little over a decade ago, and she hasn’t looked back since. The latest fruit of Cole’s vinyl-centric labors is a new 2LP studio set, Lo, her 11th solo album, which was released on 675 on March 1. Produced by Cole herself, Lo teems with the caliber of songwriting depth and arrangement breadth she’s long been known for as an artist. In a recent Zoom interview with AP editor Mike Mettler, Cole discussed why listening to vinyl is a “full body” experience, why Lo had no choice but to be spread across three LP sides, and why she feels passionate about reclaiming the rights to re-release her first three albums on her own label.. . .

Phil Manzanera is quite the worldly musician. Lately, the guitarist/composer has been on a tear with his Roxy Music bandmate, saxophonist Andy Mackay, with three LPs en route: AM PM, Roxymphony, and Christmas — plus a fourth with Tim Finn, a limited edition 3LP set. During a recent Zoom interview with AP editor Mike Mettler, Manzanera discusses how AM PM instinctually came together, the differences between composing instrumentals as opposed to music accompanied by lyrics, and which Roxy Music album he feels is perfectly sequenced for vinyl playback. . .

Growing up, the younger Jaffe never intended to become the caretaker of the Preservation Hall legacy. In fact, he never thought he would be a professional musician. Coming of age in the musty rooms, dank carriageway, and inner courtyard of Preservation Hall—the French Quarter’s living shrine to traditional New Orleans jazz—Jaffe assumed music would play a secondary role in his life.

The door to the Velvel Records reception area opened a good dozen times while I awaited Ray Davies' arrival. There was a constant stream of FedEx and UPS delivery men, visitors, and Velvel workers. Each time it opened it could have been for Davies, but I knew it wasn't, though the door opened toward where I was seated, blocking my view of the entrant.

With a click of the knob and a rush of air, the door opened one particular time and I knew immediately it was Raymond Douglas Davies' entrance. I would have bet a hundred bucks and I would have collected. What told me? The panache with which the door flew open? The “vibe?” I don't know. I just knew it was Ray, and it was.