LATEST ADDITIONS

Matthew Greenwald  |  Jun 01, 2004  |  0 comments

This is such a wide-ranging album of varying degrees of music and entertainment that it’s virtually impossible to classify or label…and that’s probably the way Judy Henske enjoyed it. Like her first two albums for Elektra, this collection of songs ranges from Broadway-inspired pop to folk to soul, folk-rock, and blues (and beyond). Henske’s ability to mark her territory in all of these genres, define it… and then burn it down - is decidedly spellbinding. But aside from her astonishing voice, this live in-the-studio record captures her hilarious, slightly stoned-out humor. To be sure, they’ll probably be a few listeners who will be tempted to skip some of the lengthy, in between song raps and introductions; but they’d be selling themselves short. Inspired by Lenny Bruce and Lord Buckley (among others) Judy’s politically-incorrect/Beat attitude wreaks havoc over codified ‘rules’ of public behavior, especially for women in 1966. As emancipated, independent and equally talented as Slick, Joplin or Elliot, Judy Henske should be mentioned in the same breath as those women - and the proof is right here.

Matthew Greenwald  |  Jun 01, 2004  |  0 comments

The opening track to Starsailor’s sophomore long-player, Silence Is Easy claims “Music Was Saved”. I won’t go so far as to take that totally to heart, but at times, and in some ways, the album makes me feel that way. There is a special sense of camaraderie, and yes, salvation throughout the proceedings, that leaves one feeling buoyant, liberated and cleansed—and it has less to do with musicianship or sonic appeal, and more to do with the songs themselves.

Michael Fremer  |  Jun 01, 2004  |  0 comments

Calling himself Palace Music, or Palace Brothers, or Push, and of late Bonnie “Prince” Billy, the enigmatic Will Oldham, aided by a group of musical cohorts, has been making a spare brand of dry, mournful country/rock music for more than a decade. Before the term alta-country had been coined, it could be argued, the 34 year old Oldham had both invented and perfected the musical form on a series of genre-shattering albums issued on the Chicago based Drag City label beginning in 1993.

Michael Fremer  |  Apr 30, 2004  |  First Published: Dec 31, 1969  |  0 comments

Producer Rick Rubin born in Long Beach, Long Island, New York in 1963, graduated high school in 1981. Johnny Cash, born in Kingsland, Arkansas in 1932, graduated high school in 1950. Yet these two, separated in time by more than thirty years, and by an even wider socio-cultural gap, will forever be linked by the music they created together during Cash’s last decade of life. Rubin’s resurrection of Cash’s career with the release of American Music in 1994 is but one fascinating facet of this enigmatic figure’s twenty year career in music.

In 1984, while a film and video student at N.Y.U., Rubin met Russell Simmons at Danceteria—a New York club where downtown hardcore rockers and uptown rappers mixed comfortably—and the two immediately hit it off, sharing a common musical vision of hard beats and hard rhymes, with Simmons drawing from R&B roots and Rubin from hard rock. Rubin had a vision of melding the two seemingly disparate musical forms and though he’d never produced a record, he sought out the duo of T. La Rock and Jazzy Jay, and out of that came a 12” vinyl single, “It’s Yours,” which was released on Partytime/Streetwise records. It featured rhyming raps set to a loud, hardcore beat with metal overtones. Though the track went on to sell around 100,000 copies—an impressive number for the newly emerging musical genre—Rubin was never paid for his work.

Michael Fremer  |  Apr 30, 2004  |  First Published: Dec 31, 1969  |  1 comments

MF: Just to change the subject, do you know who P.D. Ouspensky is?

RR: Yes.

MF: Did you read “In Search of the Miraculous?”

RR: Yes.

MF: That book changed my life. I don’t live it but he managed to merge mysticism with science and create a music-based universe.

RR: Have you ever listened to the Gurdjieff piano pieces?

MF: Keith Jarrett recorded some, and Thomas D. Hartmann?

RR: Yes. They are so beautiful. I listen to those quite a lot.

Michael Fremer  |  Apr 30, 2004  |  First Published: Dec 31, 1969  |  2 comments

MF: You seem like the kind of person who looks around and sees what’s bother you in music—things that are not being done—and you do them. I mean, that’s how you got started in music, essentially. So who’s out there now that’s lying fallow that need to be re-cultivated? Don’t say Yoko Ono.

RR: There are a couple, but I can’t talk about it yet. A couple that I think could really be special.

MF: Have you approached any of them?

RR: A couple.

MF: Well they’ve seen what you’ve done so I can’t imagine it will be as difficult as it might have been getting to Johnny Cash. How about Neil Diamond as a person to do a record with?

RR: He’s one of my favorite artists of all time. Incredible.

Michael Fremer  |  Apr 30, 2004  |  First Published: Dec 31, 1969  |  0 comments

Note: due to current website technical limitations, accompanying photos can be found in the “gallery” section, accessible near the bottom of the home page.

Last fall, I was invited to visit the Hornslet speaker cabinet manufacturing facility in Denmark. The company builds high-tech boxes for Audio Physic, Linn, Dali, Naim, Aerial Acoustics and a number of other companies. Take a look at a map and you’ll see that Denmark is but a short distance from both Hamburg and Hanover, Germany, home of the big Universal Music tape vault and the Emil Berliner studio. I’ll be in the neighborhood, I figured, so why not swing by on my way to Denmark?

I’d made contact with Gunther Buskies, senior product manager in charge of vinyl reissues at Universal, who worked out of Hamburg, and he offered to drive me to Hanover so I could visit the facility and talk with veteran LP mastering engineer Willem Makkee. Makkee cuts the Universal LP reissues as well as the Warner Music (Europe) series, and most of the Speakers Corner vinyl.

Michael Fremer  |  Apr 30, 2004  |  First Published: Dec 31, 1969  |  0 comments

Arriving at the Universal facility in Hanover, I was confronted by a large, multi-storied modern facility. I had been led to believe that the site was the original home of Berliner, but in fact, that was elsewhere in Hanover, and instead a small section of the mastering facility’s first floor had been turned into a small museum showcasing artifacts from among Berliner’s effects. Among them was Berliner’s original flat disc gramophone, early plated lacquers and finished discs, his original “Nipper” drawings, other Berliner designed playback devices, and some photos of the inventors. It was thrilling to see the first flat disc playback device “in the flesh.”

Photos lined the walls and corridors: photos highlighting the rich recording heritage of Deutsche Gramophone and other labels now under the Universal umbrella. There were pictures of recording sessions from the 30’s, 40’s, 50’s and beyond, featuring Herbert Von Karajan conducting the Berlin Philharmonic while a team of recording engineers and technicians in an adjacent control room oversaw the capture to analog tape. There were shots of Karl Bohm, Leonard Bernstein, Seji Osawa, and other luminaries of a bygone era, exuding a gravity, importance and grandeur that people no longer seem to possess anywhere on the planet. That goes for musicians, politicians, you name it. And if you don’t sense it in everyday life, you surely would walking down that corridor taking in those black and white photos.

Michael Fremer  |  Apr 30, 2004  |  First Published: Dec 31, 1969  |  0 comments

This interview with George Martin was conducted in July of1998 and was originally intended for The Tracking Angle. Unfortunately, we ceased publication before it could be run. It appeared later in Art Dudley’s wonderful Listener magazine, also sadly defunct. Martin was in New York on a media tour publicizing In My Life his farewell production. It wasn’t particularly well received in the press, but it was what Martin wished to do, and that was good enough for him and for me. Meeting Martin was a memorable experience that I shall never forget.

The hotel door cracks open and you're startled to see Sir George Martin has answered your knock, looking just as you've seen him in the photographs, only taller and even more imposing. He welcomes you sincerely, in a polished voice that's soothing yet terribly aristocratic and proper sounding.

Foolishly, involuntarily, (and you hope surreptitiously) your eyes momentarily lose contact with Martin's to dart around the room looking for those other familiar faces always in the photos. You lock onto Martin's eyes, which say to you, "Don't worry. We're used to it. You're not the only one who's looked."

Frank Doris  |  Apr 30, 2004  |  First Published: Dec 31, 1969  |  0 comments

I Love the Music of Esquivel: So Zu Me!

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.

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