LATEST ADDITIONS

Michael Fremer  |  Nov 08, 2011  |  First Published: Dec 31, 1969
Michael Fremer  |  Oct 31, 2011  |  First Published: Dec 31, 1969
Michael Fremer  |  Sep 28, 2011  |  First Published: Dec 31, 1969
Michael Fremer  |  Sep 01, 2011

Well after this SACD review had been posted, the double 180g LP arrived. It takes the sound up a significant number of notches, producing greater imaging and staging three dimensionality. The hall reflection is more distinct, King's voice projects further forward and the sometimes rough vocal textures are enhanced in a way that makes it sound more "live.". The string section sounds richer and fuller when it's added and the "you are there" sensation is greatly enhanced overall. If you've not picked this up on SACD, I'd say it's worth spending the extra to get it on LP. A great sounding time capsule for sure!

Michael Fremer  |  Sep 01, 2011

Alto sax bop legend Art Pepper (1925-1982) had accrued a lot of mileage but few OnePass points when he blew into London with his trio in June of 1980 to play a fortnight gig at the famous Ronnie Scott’s Club.

Michael Fremer  |  Sep 01, 2011

While American soul music— northern urban and southern rural—and UK-via-the-Caribbean-derived Ska course through the veins of the fourth Elvis Costello and the Attractions album,  the flesh thankfully remains white limey. 

Michael Fremer  |  Sep 01, 2011

Anyone who thinks exploitation/commercialization is a recent development wasn’t around in the aftermath of George Harrison’s discovery of Indian music and his use of a sitar on “Norwegian Wood.”

Michael Fremer  |  Sep 01, 2011

Mose Alison meets Steely Dan meets Gary Wilson is the best I can do to describe this hipster member of Hollywood's famous Dragon family's recent CD. 

Michael Fremer  |  Sep 01, 2011

(Note: this review originally stated that the lacquer cut was from the 3 track master. That was incorrect. The master here was the two track original that hadn't been used since 1980. While the tape had some dropout and other issues, mastering engineer George Marino determined it still sounded superior to any of the copies used for subsequent reissues.)

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