“I’ve been a harmony singer most of my life. I know what to do, and where to be.”
That’s Graham Nash, 80 years young, not only defining his artistic M.O. as a tenor vocalist, but also speaking to his inherent instincts for knowing what the right tones are for the music he’s making, and, frankly, where he stands on life and society in general.
Whenever the calendar turns, almost inevitably, new Steve Hackett music is on the horizon — and thus we have before us the British guitar maestro’s 30th solo album, The Circus and the Nightwhale, which is being released tomorrow, February 16, 2024, as a 180g 1LP set via InsideOut Music. In a recent Zoom interview across the Pond with AP editor Mike Mettler, Hackett discussed the genesis (pun intended) of Nightwhale music, the importance of deploying volume dynamics whenever possible, and why Genesis was in no way going to compromise the depth and the integrity of the song arrangements they came up with for the initial vinyl release of their groundbreaking 1972 LP, Foxtrot. . .
British guitar iconoclast Steve Hackett, a key member of Genesis during their 1970s heyday, has since forged a formidable solo career after he left that progressive-leaning group 45 years ago. In Part I of this interview series, Hackett tells AnalogPlanet exclusively about the aural differences between his new 4LP/2CD release Genesis Revisited: Seconds Out & More and Genesis’ original October 1977 Seconds Out 2LP set, which guitar solo of his he considers to be the most well-known Genesis guitar moment, and the challenges Genesis faced in the 1970s when they pushed the boundaries of just how much music could fit on one side of an LP. Read on to find out why the vinyl path is clear. . .
It’s never too late to reclaim your legacy on vinyl. British guitar icon Steve Howe knows this concept quite well, in fact, and it’s the main impetus for what you see here —namely, the full revamping of his pre-Yes 1960s band Tomorrow’s debut February 1968 LP, now duly recast and retitled Permanent Dream, which was released in its new, 140g 1LP form by Spirit of Unicorn Music/Parlophone on April 28. In a recent Zoom interview with AP editor Mike Mettler, Howe discusses his “psychedelicized” impetus for revamping the original Tomorrow album, why the Permanent Dream tracklisting needed to be both revised and resequenced, and why the song that takes up the entirety of Side 1 of Yes’ iconic December 1973 double LP Tales From Topographic Oceans is actually shorter than it was intended to be. Read on to found out how Howe decided to bring Tomorrow into the vinyl world of today. . .
Musicians have fans. Baseball players have fans. But mastering engineers? It would seem unlikely that a guy or gal who transfers tapes to CD or vinyl would garner a substantial public "following" ( a few groupie audiophiles notwithstanding), but over the past decade Steve Hoffman has managed to do just that.
SA: I have a 24 track studio in my house-all top of the line equipment-but more importantly than the studio, I have a large collection of very high quality microphones that I tote with me whenever I go anyplace else to make a record.
MF: How did you accumulate them and what are some of them?
SA: Well I got them by buying them......There's the Calrec Soundfield- an amazing microphone that sounds really good.
>(Editor's note: back in 1985, with the release of Richard Thompson's Across A Crowded Room and Linda Thompson's One Clear Moment, the two were in Los Angeles at the same time and I got to interview them, both on the same day.
The assignment brought back still-raw memories of the legendary June, 1982 Roxy appearances by Richard and Linda Thompson in support of their final collaboration, the masterpiece Shoot Out the Lights, recently reissued on 180g vinyl by 4 Men With Beards.
Everyone knew the couple had broken up and this would be the last chance to see them live. To add personal insult to musical injury, I called my ex-girlfriend who'd left me four months earlier, and with whom I was still in love, and asked her if she'd like to attend the show. She said yes, and so there we were sitting once again across from each other as we'd done so many times at concerts and clubs for the previous four plus years. Whatever was going on in our heads (or at least mine) played out that evening on stage. Here's the piece written in the aftermath of the two interviews—M.F.)
Porter, not really blindfolded, was kept in the dark about what he was listening to, then asked to comment before it was revealed. (The subsequent identifications have been edited out of the transcript).
1)Dionne Warwick: “People Got To Be Free” Soulful (Produced by Chips Moman and Dionne Warwick, no engineering credit) Scepter (German) SHA-S 401
BP: It's not bad. It's been electronically gimmicked slightly. You can hear it on the horns and voices. It sounds like, to me, a second-or third generation tape that's been equalized to compensate for whatever deficiencies they heard.
Even though they initially took flight in the burgeoning digital age as the calendar turned to the 1990s, The Black Crowes have always had an analog-centric mindset. During a recent Zoom interview with AP editor Mike Mettler, Black Crowes lead vocalist Chris Robinson and lead guitarist/vocalist Rich Robinson, alongside producer George Drakoulias, all came together to discuss how finding the original quarter-inch master unlocked the Southern Harmony vinyl collection, which vintage turntables both Brothers Robinson swear by, and why sequencing the album for vinyl playback was always of primary consideration. . .
This interview, conducted by Matthew Greenwald back in 1997, first appeared in issue 14 of The Tracking Angle. As Rhino readies the new Doors LP box set (now set for April, 2008), we figured it was a good time to present it here-ed.
There’s a special intuitive connection certain musicians share that cannot be qualified in technical terms, but can instead be described as being both magical and mysterious. Case in point: the 60-years-and-counting musical mindmeld between lead vocalist Colin Blunstone and keyboardist/vocalist Rod Argent, the twin driving forces behind British invasion stalwarts The Zombies. Still going strong today, The Zombies are on the precipice of the imminent release of their seventh studio album, Different Game, which comes out in fine 1LP form on March 31 via Cooking Vinyl. In a recent Zoom interview with AP editor Mike Mettler, Zombies vocalist Colin Blunstone discussed the connective sonic tissue between Different Game and their 1968 masterpiece Odessey and Oracle, why he prefers hearing songs like “Time of the Season” in mono, and why the Odessey album benefitted from some things The Beatles left behind in EMI Studios while they were recording their legendary June 1967 Sgt. Pepper album. Read on to glean all the properly seasoned details. . .
Since the mid-sixties, producer Joe Boyd's name has been synonymous with the British folk/rock scene. Through his Witchseason productions, Boyd produced the classic albums of The Incredible String Band, Fairport Convention, Richard and Linda Thompson, Nick Drake, Martin Carthy, and Sandy Denny among others. During that fertile musical period, the Witchseason logo on an album was an ironclad guaranty of good music- and fine sound.
MG: Well, let's first hit that great rewind button in the sky... After you attended Carnegie-Mellon in Pittsburgh, I believe that one of the first professional jobs that you got as a musician was playing clarinet on Art Linkletter's television show, "House Party"...
Van Dyke Parks: (Laughter) No, I came out to California expecting that job to be waiting for me... It didn't happen. (Laughter)
MG: So, you came out here and lived with your older brother, Carson?
VDP: Yeah, we lived in Seal Beach.
MG: So I guess at that time you kind of set the clarinet aside and learned 'Raquinto' style guitar... Did the two of you play coffee houses?
VDP: Well, we played all of the hip places to play. We played all the way from San Diego to Santa Barbara. We went up and down the coast and played all these places.
AnalogPlanet reader Bill Wright interviews Australian mastering engineer Don Bartley, who cut lacquers back in 1983 for what many consider to be the best sounding and certainly the rarest pressing of Sgt. Pepper's Lonely Hearts Club Band, produced by EMI Australia for the 1983 Sydney Audio Show. Fewer than five hundred copies were pressed.