Album Reviews

This year for Record Store Day, I joined the Music Millennium line at 5:40 AM. Because of COVID-19 restrictions, they let 10 customers inside the store at once, and enforced social distancing in line. When the sun rose around 6:00, owner Terry Currier handed out tickets corresponding to our spots in line, with specific time slots to arrive back later and shop. I left and arrived back at 8:15, ultimately going over my expected budget and buying 10 records. I’m still processing the Bowie, Tyler, Clipping, and Ron Carter releases (another RSD-themed Review Explosion of those coming soon), but below are reviews of my other pickups (I also bought a copy of Angel Olsen’s latest album Whole New Mess for a general Vinyl Review Explosion).

Memphis based "garage rocker" Jack (Yarber) Oblivian, formerly with Johnny Vomit & the Dry Heaves among other groups, recently released this adrenalin charge on Black&Wyatt Records and someone (I don't know who) sent it my way thinking I might like it even though the sound is, let's say "primitive" (no top, not much bottom, just some stuff in the middle) in a good way (some recorded to 4 track M.C.I.) but all of it purposefully squashed in a way that sort of reminded me of Don Van Vliet ("Sweet Thang"), but maybe that's because in some ways the performances did too, though it's far more punk-rocky and less bluesy.

Beginning in the late ‘70s, continuing throughout the 1980s and once in 1994 Wilson Audio Specialties founder Dave Wilson released a series of records that he co-produced with wife Sheryl Lee, many of which he also engineered. They were minimally miked—often a spaced pair of Schoeps was all—and mastered by an all-star lineup of disc cutters including Bruce Leek (who also shared engineering credit on some), Stan Ricker and Doug Sax (Google if any of the names are unfamiliar). The tape machine for all but the very early organ record Recital (Wilson W-278) was an Ultramaster™ by John Curl, a highly modified Studer 1/2" deck running at 30 IPS.

Pictured are three percussion records you should own—especially if you feel like banging your head against the wall. One is an "oldie" Living Stereo novelty that's back in print, one was originally released in 1984 thanks to a grant from The National Endowment For the Arts (today an endangered species) reissued in the 1990s and one is a current release.

The subscription-based, vinyl-only record label Newvelle Records is an audacious project on many levels—a “closed loop” system wherein jazz enthusiasts pay an annual “membership fee” of $425 (includes shipping) and receive six Newvelle-produced records—all performed by mostly familiar “world class” artists— over the course of the year.

Analogue Productions recently completed one of the major reissue projects in modern vinyl playback history with the release of the final eight Beach Boys albums in both mono and stereo.

A recent sales blurb from UMe's "The Sound of Vinyl" website reads: "Using the original analog master tapes this artisan process results in cuts that have superior high frequency response (treble) and very solid and stable stereo images. In short, a very high quality master that helps to create a very high quality record."