AnalogPlanet readers need to introduction to this groundbreaking album, Coltrane's first for Atlantic recorded shortly after his participation in Kind of Blue. The packaging and presentation are "first class" and include a booklet with new, never before seen photos and an essay by jazz historian Ashley Kahn. The jacket and label art replicate the original's.
Rhino Records' RSD offerings include three items David Bowie fans probably will want. They are Welcome to the Blackout (Live London 1978), "Let's Dance" (demo) and, available for the first time commercially, the rare Berlin-era U.S. promo album Bowie Now.
The RIAA today released its mid-year data on U.S. consumer listening and recorded music revenue. Growth in paid subscription streaming more than offset declines in other areas, in great part affected by the Covid-19 pandemic.
Like a musical Old Faithful, Richard Thompson dependably spews an album’s worth of inspired material at regular intervals. He’s been doing this since 1972’s Henry the Human Fly (Island ILPS 9197), which is so deserving of a high quality all-analog reissue.
Sexual obsession, ugly betrayals, bitter kiss-offs, working men's tribulations, murder and mayhem— all of the traditional British balladry fare continue to preoccupy Richard Thompson as they have for decades. While he's moved on occasion through musical fashion, he always manages to return, as he does here, to his ground zero (dis)comfort zone.
Thompson’s first acoustic solo album (with overdubbed guitars and some keyboards added by Debra Dobkin) in many years is as the title and cover art promises, an intimate drawing room recital by a seemingly timeless artist who doesn’t get better with time because he dropped in seemingly fully formed during his Fairport Convention days much as James Taylor did on his first Apple solo album.
Richard Thompson's new album Electric due out February 5th was recorded analog at Buddy Miller's Nashville home studio, according to Mr. Thompson in a short interview published in a Florida newspaper. (Thanks to Home Theater's other MF Mark Fleischmann, for sending to me the URL of the interview).