Michael Fremer

Michael Fremer  |  Mar 01, 2012  |  0 comments

This performance and recording with Eiji Oue conducting the Minnesota Orchestra emphasizes the "symphonic" while downplaying the "dance" aspects of Rachmaninoff's composition.

Michael Fremer  |  Mar 01, 2012  |  1 comments

First of all the back cover photo doesn't include Brian Wilson! What's that all about?

Michael Fremer  |  Mar 01, 2012  |  3 comments

Does it have to sound this bad fellas? We all love your brand of fist pumping, T-Rex boogie, rhythm guitar riffing rock.

Michael Fremer  |  Mar 01, 2012  |  1 comments

I’ve heard and read complaints about the unadventurous reissues coming from Analogue Productions, especially now that the parent company Acoustic Sounds owns its own pressing plant, Quality Record Pressing.

Michael Fremer  |  Feb 13, 2012  |  0 comments
The phono preamplifiers reviewed this month are both affordable ($400–$1960) and highly accomplished, and the most expensive of them offers versatility that's unprecedented in my experience. Three of them are designed to be used only with moving-magnet, moving-iron, and high-output moving-coil cartridges, so I installed Shure's V15VxMR cartridge in VPI's Classic 3 turntable and listened in MM mode to all of them, beginning with the least expensive.
Michael Fremer  |  Feb 01, 2012  |  0 comments

A funny thing happens as you age: time compresses. When I was 20, music from the 1940s seemed old. Robert Johnson was positively pre-historic, and to my ears the sound was equally cobwebbed. Oh, like everyone else, I bought CL 1654 after seeing it on the cover of Bringing It All Back Home and reading one of the breathless cover dissections in a magazine. Back then every cover prop "meant" something. 

Michael Fremer  |  Feb 01, 2012  |  2 comments

Patricia Barber's café blue remains a musically and sonically stunning set seventeen years after its initial release on CD and later on a truncated vinyl edition. It's set in a dark, atmospheric musical space that recording engineer Jim Anderson captured perfectly, bathing Barber's sultry voice in a mysterious shroud of reverb created not by artificial means as was common at the time, but by establishing an improvised chamber under some stairs at CRC (Chicago Recording Company) where the record was produced.

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