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various  |  Sep 30, 2005  |  0 comments

Produced by Steve Smith and Chris Blackwell
Engineered by Steve Smith
Mixed by Phill Brown
Island/Tuff Gong ILPS 9376 (LP), 422-846 203-2 (CD)


Before Bob Marley cut Live! at the Lyceum in London, Marley's producer Chris Blackwell remembers how the fanaticism surrounding the singer was escalating. “At his shows he was doing 'No Woman, No Cry' and the audiences were singing so enthusiastically. I thought, 'Boy, I've got to record this live', because it sounded so incredible.”

Tracking Angle contributors  |  Sep 30, 2005  |  0 comments

Live Dead
Produced by The Grateful Dead, Bob Matthews, and Betty Cantor
Engineered by Bob Matthews, Betty Cantor, Owsley, and Ron Wickersham
Warner Bros. 1830 (2 LPs)


So many musical icons have bitten the bullet this decade, so friends have asked me why Jerry Garcia's death bothered me more than the demise of Frank Zappa, John Cage, or Sun Ra. Are they less significant? Not in the least. The analysis is simple: Frank Zappa is best remembered for his recorded legacy - and he had enough warning (unfortunately) of his demise that he properly documented and established distribution arrangements for his collected recordings, including unreleased material.

Tracking Angle contributors  |  Sep 30, 2005  |  0 comments

Live at the Five Spot Vols. 1 & 2; Memorial Album
Original Recordings Produced by Esmond Edwards
Engineered by Rudy Van Gelder
Reissue produced by Eric Miller
Digital transfers and editing by Dave Luke
Original Jazz Classics OJC 133, OJC 247, OJC 353 (CD)

Music: 10
Sound: 8

Michael Fremer  |  Jul 31, 2005  |  0 comments

Site mascot Eno, celebrated his 11th birthday today, July 18th, 2005—a major milestone for a Bernese Mountain Dog.

This breed has an average lifespan of around 8 years due to size (big dogs have shorter lifespans in general) as well as a variety of health issues includng cancer.

Robert J. Reina  |  May 01, 2005  |  0 comments
Shortly after Motel's Adrian Milan rediscovered Wilson and was busy reissuing the landmark recording, Milan played the record for documentary film director Michael Volk, who shared Motel's penchant for oddball 70's film soundtracks.
Robert J. Reina  |  May 01, 2005  |  0 comments
Back in 1977 while shopping for Sun Ra records in my favorite Philly store, I discovered this bizarre-looking album.  The cover featured the artist, Gary Wilson, posing in an early-'60s mod suit and funny sunglasses, in what turned out to be his parents' basement.  The back jacket was another basement shot of Wilson, this time in his underwear, lying amidst a tangle of recording tape, wires and covered with baking flour.  There were also song titles and the artist's address in upstate New York, but nothing else.

I had to buy it.

Michael Fremer  |  Apr 30, 2005  |  0 comments

Years before Burt Bacarach became "hip" once again, well before he had a part in an Austin Powers movie, or wrote songs with Elvis Costello and Ronald Isley, your editor interviewed him. Bacharach's insight into music writing, recording and performing are still fascinating.—MF

In 1970, Simon and Schuster published a book called " How to do Almost Everything" written by syndicated columnist Bert Bacharach. The title refers to a collection of helpful home hints, not son Burt's musical career, but it might as well have.

Matthew Greenwald  |  Feb 01, 2005  |  0 comments

“Canvas the town and brush the backdrop…”

Brian was already smoking pot by late 1964, and his first efforts combining reefer and music were promising: most of the songs on side two of The Beach Boys Today, particularly “Please Let Me Wander”, showed Brian expanding on the beautiful, innocent vulnerability which began with “Surfer Girl”. His arranging skills in particular were growing into something completely different by this time, and culminated with the burnished spiritual gauze of Pet Sounds. Brian later revealed that the gleaming introduction to “California Girls” was composed following his maiden L.S.D. voyage. But, Brian Wilson, a man of delicate psyche to begin with, was probably not someone who should have taken large amounts of psychedelics. But along with this, speed - especially a compound called Desputol (sic) - was becoming more and more prevalent in Brian's world. The result was a man with many of the casebook symptoms of abusing the drug, the biggest and most obvious being overwhelming paranoia. Brian began talking about Murry bugging his house, Phil Spector (and his 'mind gangsters') attempting to freak Brian out via director John Frankenheimer's film “Seconds”. Brian's mind must have been like a spooky house of mirrors at the time. Van Dyke later commented, “If you go to the dark side of the moon, you're lucky that you don't get burned up on re-entry…”

Matthew Greenwald  |  Feb 01, 2005  |  0 comments

“The album became a legend. Songs and beautiful musical fragments would emerge over the years, but Smile was to have been a whole musical direction, and the individual songs, taken from their natural surroundings, were deprived of what could have been a stunning collective emotional effort. The work had started with “Good Vibrations” and it had expanded with the help of a friend (Van Dyke Parks) Brian met on Cielo Drive. Now, a year later (1967), Smile was still a dream. Too much pressure. Too many drugs. Too much anticipation. Too little support. It was the end of an era.” - Byron Preiss (“The Beach Boys”/1979)

Bill Taylor, New York Musician magazine  |  Jan 31, 2005  |  0 comments

This interview was conducted by New York Musician Magazine's Bill Taylor, and originally run there. We reprint it thanks to
the kindness or Mr. Taylor and his publication. Thanks also to Don Grossinger for gettting it for Musicangle.com.

BT: What was your participation on the project?

DG: I did all of the vinyl mastering and some of the QC work to make sure the test pressings were up to par.

BT: How did you get the project? I was recommended by Bob Ludwig who had mastered the CD for the project and Joe Gastwirt who had worked on many Beach Boys projects with Mark Linett. Bob didn't do it himself because he no longer has a lathe. This is the second project he's sent to me. He sent the Rolling Stones' remastering for vinyl work, the new SACD masters, to me as well.

BT: Did you do the whole Brian Wilson album or just a few selected cuts?

DG: It was more than the whole album, actually. The whole CD consists of three suites which are 47 minutes long in total. Each of the sections took one side of the album. The fourth side, which I EQ'd and mastered from scratch, consisted of bonus tracks. These were 4 instrumentals of some of the songs that were on the album as vocals. These tracks will only be on the vinyl release, not the CD.

Michael Fremer  |  Jan 31, 2005  |  0 comments

Muswell Hillbillies

Produced by Raymond Douglas Davies

Engineered by Mike Bobak

Compilation engineered by Mike Konopka at Toy Specialists

Mastered by Bob Ludwig at Gateway Mastering

Konk/Velvel 63467-79719-2 (HDCD)

Music: 10

Sound: 9

Having gotten the madness and betrayal of the music business at least partly out of his system on Lola Versus Powerman and the Moneygoround, The Kinks' final Pye/Reprise release, Ray Davies returned to what he'd begun back in 1968 on The Kinks Are the Village Green Preservation Society, the group's most beloved, though far from best-selling, album. Steeped in nostalgia for a Britain that was rapidly disappearing, ...Village Green looked back at an idealized past that may never have existed, but which Davies wanted to preserve - at least in song.

Matthew Greenwald  |  Jan 31, 2005  |  0 comments

Wondermint vocalist/vibes/keyboardist Darian Sahanaja, a member of the Wondermints—Brian Wilson's live back-up group— speaks with Matthew Greenwald about his job as Brian Wilson's "musical secretary," and about the restoration and creation of Wilson's legendary Smile album for both live and studio presentation.

Michael Fremer  |  Jan 31, 2005  |  0 comments

Back in 1998 KOCH licensed both the RCA and Arista Kinks catalogs from BMG. Ray Davies supervised and approved the transfer from two-track analog masters, which was accomplished using an Ampex ATR102 directly feeding a Pacific Microsonics Model One A/D converter running at 88.2k/24 bit PCM (bonus tracks were sourced from Ray's DAT tapes). The files were sent to Bob Ludwig's Gateway Mastering for final mastering, including HDCD encoding.

Frank Doris  |  Jan 31, 2005  |  0 comments

Esquivel: Other Voices, Other Sounds/Four Corners of the World

Bar/None AHAON-090

Esquivel: Exploring New Sounds in Stereo/Strings Aflame

Bar/None AHAON-091

Esquivel: Infinity in Sound, Volume 1/Infinity in Sound, Volume 2

Bar/None AHAON-003

(1 and 2) Produced by Johnny Camacho, (3) produced by Neely Plumb

Reissue Supervision: Paul Williams for House of Hits Productions, Ltd.

Digital transfers by Mike Hartrey

Digitally remastered by dbs Digital, Hoboken, NJ

This whole Cocktail Nation, Space Age Bachelor Pad Music revival thing strikes me with extreme bemusement. All of a sudden, a new generation discovers and decides that what was once unhip is now the coolest-whether martinis, leopard skin, kitschy Fifties furniture-or the “easy listening” instrumental music popular at the dawn of the Stereo Age.

Michael Fremer  |  Nov 01, 2004  |  0 comments
TA: Let's go on the 5D era then, if we could. This is a major point of change for you guys. Your two primary sources of material, Gene Clark and then Bob Dylan were not on the record. Did you decide consciously not to do any more Dylan stuff for this record?

RM: I think maybe we got too much flack for doing too many Dylan songs.