Bill Taylor, New York Musician magazine  |  Jan 31, 2005  |  First Published: Dec 31, 1969  |  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

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  |  First Published: Dec 31, 1969  |  0 comments

The door to the Velvel Records reception area opened a good dozen times while I awaited Ray Davies' arrival. There was a constant stream of FedEx and UPS delivery men, visitors, and Velvel workers. Each time it opened it could have been for Davies, but I knew it wasn't, though the door opened toward where I was seated, blocking my view of the entrant.

With a click of the knob and a rush of air, the door opened one particular time and I knew immediately it was Raymond Douglas Davies' entrance. I would have bet a hundred bucks and I would have collected. What told me? The panache with which the door flew open? The “vibe?” I don't know. I just knew it was Ray, and it was.

Michael Fremer  |  Jan 31, 2005  |  First Published: Dec 31, 1969  |  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.

Michael Fremer  |  Jan 31, 2005  |  First Published: Dec 31, 1969  |  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  |  First Published: Dec 31, 1969  |  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.

Matthew Greenwald  |  Jan 01, 2005  |  1 comments

The first studio album proper by the duet since 1976's Whistling Down The Wire, Crosby-Nash - a two-CD set - is an interesting, intriguing and overall thoughtful affair. To say something like that it reflects the 'lives in the balance' vibe that we are all surrounded by here in 2004 through the minds of these two firebrands would be accurate, but there's more, much more.

Michael Fremer  |  Jan 01, 2005  |  1 comments

Wow! Leave it to Sundazed to pull off the ultimate Christmas gift for Byrdmaniax-not that any of them will wait until then to devour this quintuple 45rpm box set. All of these A and B sides were originally conceived of as the “next” Byrds single, but for one reason or another, were shelved. Now Sundazed has resurrected them with fabulous sound and impeccable, sumptuous packaging.

Andy Goldenberg  |  Jan 01, 2005  |  1 comments

A nice return to form has been achieved. While I thought their last album, Hello Nasty, was lacking compared to the groundbreaking holy trinity of Paul's Boutique, Check Your Head and Ill Communication, To the 5 Boroughs brings back some tasty examples of why the boys will go down in musical history as Rap-Rock trailblazers.

Michael Fremer  |  Jan 01, 2005  |  1 comments

This 1978 set, featuring cornetist/arranger Bill Berry, backed by some of L.A.'s top jazz musicians, offers a time capsule into a not too distant past when both Pablo and Concord Records documented a still vital recording and gigging Southern California jazz scene that I'm not sure still exists. Players include many familiar jazz veterans such as Lew Tabackin (tenor sax/flutes), Bill Watrous (trombone), Dave Frishberg (piano), Monty Budwig (bass), and Frankie Capp (drums).

Michael Fremer  |  Jan 01, 2005  |  1 comments

This bio produced by the Spanish Eforfilms is essential viewing for any Nat King Cole fan. There's plenty of great Nat footage, but more importantly, an intelligent script a that looks at all facets of Nat's life, including the tension between Nat the jazz pianist and Nat the pop crooner. Also key was the difficult racial environment in which Cole, among others, was forced to suffer.
There are complete musical performances, including Cole with Ella and a hilarious duet with Sammy Davis, Jr., with Sammy doing a perfect Nat impression, much to the “King”'s delight. Unfortunately I was unable to view the bonus footage, because the bar code on the jacket was placed over where the disc sits and when the distribution company punched the promo hole, it put a hole in the disc. Even without the bonus footage, this is worth having. Other bios in the series include Billie Holiday and Lena Horne, with a Frank Sinatra disc due soon.
Also for Nat fans: Nat "King" Cole Soundies and Telescriptions (idem Home Video IDVD1017NT), a 72 minute DVD compilation of Cole performances from various venues. Mostly black and white with lo-fi sound, it's Nat's look that will mesmerize, and the music's so good, the bad sound will not interfere