The story that has been handed down through the decades goes like this: Simon and Garfunkel’s vinyl LPs were originally produced using master tapes. Because S&G became so popular, over time the tapes would show signs of wear, so Columbia engineers would make a copy, toss the original, and begin cutting lacquers using the copy.
Hunky Dory introduced a kinder, gentler David Bowie after two heavy albums laden with mythological imagery and pleasant dread—not that this album doesn't also include heavy doses of the latter.
"Jenny Sings Lenny" as Mr. Cohen playfully referenced this album in a cartoon included in the original release's liner notes but for some reason omitted here, both technically and musically has never sounded better.
At the top of the Costello album heap (not there alone, though), Trust issued in 1981 is Elvis Costello peaking in anger and disillusionment and coupling his discontent to wiry melodic constructions riding atop tautly tensioned rhythms. The album title is obviously ironic.
Of course the only "ultimate" Sinatra collection for fans is having a huge collection of his albums on Columbia, Capitol and Reprise—the label he started—plus some of the original 78s from the late '30's up until the era of the long playing record.
Chad Kassem's got a vinyl selling website, a reissue label, a pressing plant and well-oiled licensing deals so what's left to do but a self-produced double vinyl Christmas compilation pressed on red and green?
Recorded music comes to us pressed in plastic and frozen in time. The work leading up to the master often gets lost, tossed or erased and recorded over without a thought that it might be of interest to anyone. That’s most often true. Alternate takes, when they do surface, usually make clear why they were passed over in favor of the one programmed into your brain, though there are exceptions.
On August 28,1962 Dave Brubeck's "classic" quartet and Tony Bennett backed by The Ralph Sharon Trio performed separately on the stage of the Sylvan Amphitheater at the base of the Washington Monument and then in an act of daring spontaneity, Brubeck and company backed Bennett on four unrehearsed tunes, all of which was captured to tape by. Columbia Records' remote recording team.